I am a Graphic Designer originally from the North of England but currently living and working in Birmingham at Life Agency. In my spare time I art-direct Boat Magazine, do a spot of blogging for FormFiftyFiveand have a tumblr called TEAiM. If you would like to you can email me.
The miners’ strike of the mid-1980s was a pivotal moment in British social and political life. It also produced a vast amount of protest graphics from miners and their supporters which designer Craig Oldham has collected in this glorious new book.
The book features a limited edition dust-jacket printed using coal dust taken from the old site of Yorkshire’s Barnsley Colliery. A video of the printing process is HERE.
The Mask of Sorrow is a monument perched on a hill above Magadan, Russia, commemorating the many prisoners who suffered and died in the Gulag prison camps in the Kolyma region of the Soviet Union during the 1930s, 40s, and 50s. It consists of a large concrete statue of a face, with tears coming from the left eye in the form of small masks. The right eye is in the form of a barred window. The back side portrays a weeping young woman and a headless man on a cross. Inside is a replication of a typical Stalin-era prison cell. Below the Mask of Sorrow are stone markers bearing the names of many of the forced-labor camps of the Kolyma, as well as others designating the various religions and political systems of those who suffered there.
The optical illusion lettering above are by Turkish designer, Tolga Girgin. By day he works as an electronics engineer but at night he’s producing this excellent work. It all seemed to start on Instagram early last year and since then he’s gathered a ton of momentum.
It’s hard to imagine a time in which a well-crafted logo was not deemed crucial to the success of a business. Paul Rand’s unmatched ability to represent a brand with just a few strokes of the paintbrush helped the logo break free from its chains of underestimation. He also possessed an eye for the future; amazingly enough, the IBM logo has only been changed ONCE since 1956. Thanks for the pocket-sized work of art, Rand, a talisman for now and years to come.
To mark the launch of its two new typefaces The Gourmand magazine has produced a limited-edition type sample which doubles as a recipe book.
The exclusive fonts, named Grotesque 777 and Grotesque 888, were designed collaboratively by Monotype Designer, Gunnar Vilhjálmsson, and The Gourmand’s creative director, David Lane.
Delving into Monotype’s archive Gunnar took inspiration from a collection of original and unused 20th Century sans serif typefaces, harnessing various features and characteristics to create a unique, contemporary design.
I had the opportunity to ask Gunnar, a type designer from Iceland, about his process and the challenges.
What was the most challenging part of the design process?
We referenced elements from seven different Monotype Grotesque faces in the design process, everything from weight, proportions and spacing of letterforms. In a few cases we directly adopted shapes like the charming ampersand from Monotype Series 527.
In spite of the heavy inspiration taken from the Monotype legacy, we still wanted the design of Grotesque 777 & 888 to be original and tailored to The Gourmand. A big challenge was finding a satisfying balance between creating a new order while maintaining the historical quirks in a sophisticated way.
Where did the, very functional, names come from?
Naming of the faces, Grotesque 777 and Grotesque 888, derives from the working title of a typeface we stumbled upon in the Monotype Archive, called Grotesque Series 666. I think it was never released.
The ampersand is particularly distinctive. Where did this design originate from?
The shapes of the ampersand from Series 527 and the italic lowercase ‘f’ from Series 150 were directly adopted, with minor modifications.
Below are the reference material from Monotypes’s archive, showing that distinctive ‘&’ and ‘f’:
In the final type spec each highlighted character is matched with an interesting and unusual recipe from The Gourmands past issues.
Animal Rodeo! – Hendy Mp, a photographer based in Indonesia, has captured a tree frog riding on the back of a giant horned wood-boring beetle. The tree frog is a Reinwardt’s Flying Frog, part of the family Rhacophoridae. Via.
A blistering story of obsession, music and obscene money. A story of visionaries, criminals and moguls. How Music Got Free is about the greatest pirate in history, the most powerful executive in the music business, and an illegal website six times the size of iTunes.
Our cover ‘displays’ one of the main protagonists, and hints at how one man’s crime snowballs into an explosive moment in history.
Currently on Cartier Avenue in Quebec City, 34 giant backlit lampshades, decorated with selected works by Alfred Pellan and Fernand Leduc from the Musée national des beaux-arts du Québec, are hanging over the street. The installation is an original concept by Lightemotion, the lighting design firm that illuminates building façades and interiors in Europe, North America, Asia and Oceania. – via.
I keep being drawn back to this stunning Herb Lubalin designed cover for the 1968 catalog to the controversial exhibit at The Metropolitan Museum of Art, New York. (Expect to see evidence of this in the next issue of The Recorder)
Photographers note: “This brave fox wandered up on our porch. He’s half cat, half dog, and all cute. When the fox first came for a visit we instantly named it “Freddy the Fox.” But after we got to know it we found out Freddy is actually Frederica.”
Hey friend, I'm Luke. I'm a graphic designer and I help big brands communicate at LIFE Agency in Birmingham. I specialise in editorial and branding work – I cut my teeth art-directing Boat Magazine (1-6) and now I'm responsible for Monotype's typographic journal 'The Recorder'.
I value intelligent creative thinking and produce work with a high level of finish. I'm also a leader at Gallery Church, long-time & regular contributor to FormFiftyFive and founder of international network (of amazing people) CRTD..I also try to be a nice guy, which is probably more important.
Since graduating from the brilliant Falmouth University i've spent 7 years at 2 of the best agencies outside of London, gaining experience and exposure on dozens of high profile accounts. I'm experienced in running workshops and work-experience schemes, mentoring, presenting, pitching, & explaining my thinking to non-design audiences.
2014 - Present
Freelance Art Director & Designer / Monotype
Making its first appearance in 1902, and eventually edited by the formidable Beatrice Warde, The Recorder was published by the company that produced the machines that today’s Monotype derives its name from. In regular publication as a trade magazine for around 70 years (with a hiatus for much of WWII), it covered everything from technology and typeface releases to historic features; offering readers an in-depth look at the type industry.
This first new issue adopts a new approach, exploring type from a more cultural standpoint, and showing how its influence has played a role in our lives over the years, in everything from street signs to sci-fi. We’ve explored traditional forms of working, as well as the way a new generation of designers are interpreting type’s role, and the way people respond to it. We’ve considered how letterforms have been used to portray our hopes and fears for the future, both in the design industry and in pop culture, and we’ve looked at how history and culture have contributed to the development and popularity of particular styles of handwriting and typefaces. The first issue also features a photo story that goes behind the working process of one of the most well-respected British printers and typographers – the artist Alan Kitching. In collaboration with paper company Mohawk, the entire issue is printed on Mohawk Superfine Eggshell Ultrawhite, with a foil blocked cover, spot colours, and two throw-out sections.
"..the powerful beauty and visual impact of the design. This is a great-looking magazine, extremely well-conceived and executed, and is a must-see for people interested in typography and editorial design." – Robert Newman
"..The original magazine first published over 100 years ago has been redesigned and re-imagined, reinvigorating its original beauty and compelling content." – Type Worship
2011 - Present
Senior Creative / LIFE Agency
MAA Awards 2014 – Best Long Term Campaign MAA Awards 2012 – Best Strategic Thinking MAA Awards 2011 – Best Development of Agency Talent MAA Awards 2010 – Best Newcomer Agency
Working on brands including: Nescafe, Carling, Samsung, Lucozade, KitKat, Ribena, Nivea, Aquafresh, Chicago Town, Ristorante, Uncle Bens, Purina, Lloyds Pharmacy, Grolsch, Coors Light and more. I'm responsible for overseeing the LIFE brand and as such was trusted to re-brand the Agency in 2012.
2009 - Present
Contributor / FormFiftyFive
Founded in 2007 by an ever growing group of designers, illustrators, coders and makers eager to collect and share the best design work they came across, FormFiftyFive.com soon became an international showcase of creative work, winning it’s first industry award for BIMA Best Blog in '09.
We scour the world’s best creative talent to keep FormFiftyFive a foremost collection of current design from both the young upstarts and well known masters. We’re constantly on the look out for new features that dig even deeper into what’s happening in the design community, so get in touch if there’s something you’ld like to see on there.
I'm responsible for hundreds of posts including book, portfolio & event reviews.
Art Director & Designer / Boat Magazine
An antidote to lazy journalism, Boat Magazine is a nomadic (currently) biannual publication that temporarily bases itself in cities with big stories to tell. I art-directed and designed the first 6 issues of the print magazine working alongside the directing/editing team of Davey and Erin Spens. We collaborated with the most brilliant people we could find; writers, photographers, illustrators, typographers, musicians, many household names and as many unknown talents. I travelled regularly with the team abroad to research content and document the local graphic language and ephemera. All work was undertaken pro-bono and done outside of work hours, for the love of it.
Issues directed: Sarajevo, Detroit, London, Athens, Kyoto & Reykjavik.
Selected for: Creative Review, The Annual. Stocked worldwide, including Magma, Selfridges, Harrods & WHSmiths.
Creative / Linney Design
Top 25 UK full-service agency working for clients including: Molson Coors Brewing Company Ltd (internal comms & brands including Carling, Coors Light, Grolsch, Cobra etc.), Yamaha Motor Europe, Mars UK (including Mars, Maltesers, Seeds of Change, Pedigree, Whiskas, Cesar & Sheba), Bupa, Hasbro, Keele University, University of Worcester, Post Office, Mothercare, Early Learning Centre, Novartis, Givaudan, Vax, Valor, Eurostar, The Environment Agency, EADS, Kohler Mira, Pizza Hut, Chiquitos – and more.
I ran a successful work-experience scheme, personally mentoring over 40 students aged 13 – 23, and was responsible for helping to inspire the business – through a daily email of finds that was also sent to clients – and through the allocation of budget. During my 3 years I also oversaw the installation of 2 large scale sculptures and helped run a monthly 'creative forum' of visiting speakers.
Alternative music specialist / Pendulum Records
General sales and occasional acting manager, across four stores through the north east. Duties included stock control, customer service, store layout, window displays, point-of-sale and promotion. This role also required me to listen to large amounts of Dido and David Gray, from which I am still recovering.
1st class BA(Hons)
Lincoln School of Art and Design
Foundation Art & Design
Activities: Experimentation, research, process, development.
Are you a freelancer in London? Or are you an agency looking for a freelancer in London? If the answer is ‘yes’ to either of these questions then have a look at this.
The Roster is a private network connecting top agencies directly to the best freelancers in London.
Founded by designers, The Roster allows agencies to search and review freelancers based on the type of project they’re working on and contact them directly without paying a commission on bookings. Freelancers have their own profile page and can decide which type of searches they show up in, based on the types of projects they are interested in working on.
The network is primarily based on recommendations and began as a group of freelancers who would often work together and refer one another, but they do also consider direct applicants.
They’re still quite new, but they’ve been getting some good feedback and they already have a nice mix of agencies using the site; from some of the most awarded independent studios to the biggest global branding agencies.
There is more info for both agencies here and freelancers here. Take a look.
Anyone else sick of spending countless hours comping your designs “in situ” for client presentations and portfolio purposes? Thought so. We chatted to Unsigned Integer* about Scenery, a Mac app that showcases your designs with premium mockup templates, no Photoshop required!
Scenery was developed because of a personal need,
“We always wanted a fast mockup tool with quality photography in our lives, but none of the existing ones did the job for us. So we made our own.”
We tested it out and it’s really super easy to use. Here’s how it works:
Scenery runs natively on your Mac, so it’s lightning-fast, and easy to integrate into your design workflow. The fact that it’s a native app means that we can apply sophisticated image filters and transformations in a snap, creating perfectly realistic results. You have access to a premium collection of device templates, containing neutral, versatile shots of real devices (no renders!) that enable you to communicate your app professionally, regardless of your audience. Just drop your screenshot into Scenery and instantly see your designs on iPhones, iPads, Android phones and tablets, laptops and desktop computers.
If you weren’t sold on it already, all images come with *one easy license* that allows unrestricted, unlimited usage for both web and print. Scenery is available for *free* and ships with three templates to get you started.