Recent News and Views

Happy 3rd Birthday

It has been claimed that three is a magic number.* Well I’m not sure about magic, but it’s certainly a milestone. Today Very Own Studio celebrates its third year in business. The last twelve months have flown by; so maybe it’s time to reflect, and then look to the future.

Over the last year I’ve continued to help new brands like Shoot Boutique, Alternative Bike Co. and Be-Jewel to launch and establish themselves. I was involved with all three of these businesses from an early stage: working with them on naming the business, positioning the brand, and developing the visual look and feel by creating the logo, designing stationary, websites and marketing materials. I also designed the user interface and photo booth for Shoot Boutique.

As well as working directly with start up companies, I have continued to work with larger intermediary communications agencies, producing design for established brands such as AstraZeneca, Barratt Homes and Unilever.

I have also worked on the re-branding of smaller businesses, such as Vada Media, a Brighton based company working with companies and organisations to help them find new ways of communicating and thinking about their work.

It has been great to be a regular contributor to the Eight:48 publication over the last year, to have my work exhibited in the Celebration of September exhibition convened by Mortar&Pestle Studio, and to design a commemorative poster for an event held as part of the Brighton Fringe.

There’s an exciting twelve months ahead for Very Own Studio. I’m looking forward to working with Julia Chanteray from The Joy Of Business on how to further develop the business, maximising its potential and possibilities for growth. I’m also excited about some new collaborations in the pipeline and launching the new Very Own Studio website later in the year.

I would like to thank all the businesses I have worked with during the last twelve months. There’s also a high five to the people I have collaborated with, be they web developers, printers or photographers.

Here’s to the next three years…

x

*Three Is A Magic Number was originally written in 1973 by Bob Dorough for the album School House Rock. De La Soul used a sample from the chorus in their song The Magic Number, which was released in 1989.

Posted in Admin on Tuesday, May 22nd, 2012

Control film poster design

On Sunday 13th of May, Jim Stephenson’s always excellent miniclick photography talk joins forces with Hungry Eye Magazine to present Anton Corbijn’s Ian Curtis biopic, “Control”. The film will be screened at The Duke of York’s Picturehouse as part of the Brighton Fringe and will be followed by a discussion on the aesthetics of that era with Stephen Mallinder from the band Cabaret Voltaire.

To commemorate the screening, Jim asked four Brighton based artists to design one-off special edition posters. Graphic design is represented by myself and Chris Harrison of Harrison & Co with illustrators Billy Mather and Ryan Gillett making up the quartet.

For me, the film offers a bittersweet insight into Ian Curtis’ world. While he and the band are finding fame and adulation, Curtis is depressed and going through a failing marriage. He is also diagnosed with epilepsy and is suffering from the side effects of the drugs prescribed to help him. A line in the film stood out for me: “It’s a matter of trial and error until the right drug or combination of drugs are found”. This illustrates how far medicine had yet to develop on managing epilepsy, and brought home to me the confusion, despair and disappointment that Curtis must have felt after diagnosis. According to the Epilepsy Society, seizures may induce, among other things, visual disturbances such as flashing lights, hallucinations and the feeling of a ‘wave’ going through the head. With the poster, I wanted to visually depict the sensations that Curtis may have experienced as an epilepsy sufferer, giving the viewer the same sort of unease. The poster is also intended to represent the tunnel-like dark loneliness that sufferers of depression report.

I wanted to build layers of meaning into the image. So for example, the image is made of 23 concentric rings, each representing a year of Curtis’ life; almost like the rings of a tree. There are also 80 segments to the circle as the film ends with Curtis’ death in 1980. I hope the poster does justice to this beautiful and moving film.

The posters have been limited to 30 prints of each design and are printed on heavyweight A3 recycled stock. The set of four posters is available to buy for the bargain price of just £20 (plus £5 p&p in the UK). Please email: jim@clickclickjim.com for more information. For information on the screening and details on where to get tickets, click here.

Posted in Art, Illustration, Minimalism, Print on Thursday, April 26th, 2012

Eight:48 Magazine issue 8

I usually try to post something to the News and Views section of the website at least once a month. As you can probably see, my last post was in December, which shows to how busy I’ve been recently. But just like with buses, you wait ages for one to turn up, and then two arrive at the same time…

The final issue of Eight:48 (in its current guise at least) is now out. The closing issue was inspired by an article from Avant Garde magazine entitled ‘Tomorrow’s Classics’ which was originally published in 1969. In this return to the topic for today’s generation, I was one of 38 creative practitioners asked to answer the question: “what, in your opinion, that has been designed within the last few years, will stand the test of time and prove a lasting legacy for this generation of creatives?”

The issue contains the work of Spin, Julian House, Craig & Karl, Norm, Why Not Associates and Non Format, amongst many other designers, illustrators and studios. If you’d like to know what I nominated you’ll have to buy the magazine, which is available here.

Céline and co have done a great job with Eight:48 over the last eight issues, (I could have nominated the magazine itself) so I’ll look forward to seeing what comes next.

Posted in Writing on design on Thursday, April 26th, 2012

A very merry Christmas

Here’s to a well deserved Christmas break. I hope you enjoy Christmas and new year, and that you return feeling refreshed. This year’s Christmas cards were foiled onto candy pink GFSmith Colorplan stock and are now in the post, so if you’re a client, colleague, collaborator, comrade or crony you should hopefully receive yours soon. If not sorry, I blame Royal Mail!

With thoughts for those not as fortunate as ourselves, Very Own Studio has made a donation to Crisis: The national charity for single homeless people — who are very busy at this time of year.

See you on the other side.

Posted in Illustration, Print, The grid on Monday, December 19th, 2011

Design Assembly 3 book

Last week I had the opportunity to attend the launch of DA3, a book celebrating the end of three years of the design discourse website Design Assembly.

The book (there are actually three of them bound together) is so much more than just a beautiful example of what can achieved in print. Divided into several sections including Design Discourse, Inspiration, Showcase and Good Design, the book acts as an archive of the articles presented on the Design Assembly website from the past three years and also includes readers’ comments.

If this wasn’t enough to whet your bibliophilic* appetite, all proceeds from the sale of the book go to an excellent cause, fighting cancer (Cancer Research UK, LIVESTRONG and WCRF International). Well done to everyone involved. Buy one here.

*There’s a word I don’t use every day!

Posted in Paper, Print, Writing on design on Friday, December 16th, 2011

Is it worth wit?

The following article was written for Eight:48’s sixth issue, which focuses on the theme of humour in design. The issue also features articles and interviews with Andrew Byrom, James Joyce, NB: Studio, Airside, Dowling Duncan and many others and is available here.

—————

Is it worth wit?

Thoughts on graphic humour and invention.

In a visual landscape of ever increasing media channels where messages fight for attention, an image or piece of graphic design that can connect with its audience has more chance of being noticed, consumed and shared. Using graphic wit and humour is one technique that can create this connection. But how does this work?

When I began to think about this question I realised that writing about the use of wit and humour in graphic design and illustration is not as straightforward as it may at first seem. What exactly do we mean by wit in this context? Is wit always connected to humour and should witty design make you laugh? Official definitions of wit include “the capacity for inventive thought and quick understanding”, “the ability to perceive unexpected connections or contrasts and express them cleverly”, and “a natural aptitude for using words and ideas in a quick and inventive way to create humour”. Witty, meanwhile, is explained as “cleverly amusing” and “quick and inventive humour”. If we think about these concepts as applied to design, perhaps we can say that there is a spectrum of design using wit, incorporating, at one end, design that raises a smile or even a laugh, and at the other, design making clever and innovative contrasts or connections.

Of course this is not a new subject of enquiry. The three ‘bibles’ of graphic wit, Beryl McAlhone and David Stuart’s A Smile in the Mind, Alan Fletcher’s The Art of Looking Sideways and Steven Heller’s Design Humour: The Art of Graphic Wit, were all published between 1998 and 2002, and in different ways, explore and expand thinking on this subject. McAlhone and Stuart begin with a helpful explanation. “If you want to recognise wit in graphics,” they say, “look for ‘the familiar’ and ‘the play’”. The familiar, which can be “a standard visual cliché, a graphic icon, a genre, a well-known phrase or proverb”, combines with the play, “an agile or acrobatic type of thinking — a leap, a somersault, a reversal, a sideways jump — where the outcome is unexpected”. Making this combination ensures that audiences ‘get’ the idea, with just the right amount of the two key elements needed to create success: recognition and surprise.

Taking this approach helps to answer my initial questions; wit in design is not necessarily designed to make you laugh. Unlike verbal wit, static design can’t tap into comedic timing so it needs to use other methods. It may be humorous, but it may also be surprising, clever and thought provoking. As Heller points out, while verbal wit and graphic wit are similar in some ways, in others they are quite different, with graphic wit “often subtle or sardonic, not side-splittingly funny.”

However, as McAlhone and Stuart note, “wit is not to be treated with a heavy hand”. So now that I understood more about the broad spectrum on which graphic wit exists, I decided I would take a look at developments since the publication of the big three, and pick out some of my favourite examples of recent design and illustration that combine the familiar and the play in different ways. In doing so, I might also learn more about my own work and approach to wit.

1. Which came first — Kyle Bean

Designer Kyle Bean recently created this hand crafted model playing on the eternal chicken and egg question. He uses wit to translate the question into a visual form, perhaps in doing so making the question even more difficult to answer. The ‘witty thinking’ behind this piece is obvious, and it evokes a smile or at least a feeling of pleasure in the viewer when he or she ‘gets’ the joke, at the same time as admiration for the skill involved.

2. Panasonic Note packaging — Scholz & Friends

The packaging for the Panasonic Note headphones has all the simplicity and beauty of Apple product packaging. But where this item, designed by Scholz & Friends in Berlin, comes into its own, is the positioning of the earphones to make a ♫ symbol. This simple design intervention illustrates the combination of the familiar and the play perfectly; in making this acrobatic move it elevates the packaging from being merely beautiful, to being clever and memorable. All the elements of recognition and surprise are there. The packaging showcases the product perfectly, and the idea excludes the need for anything other than the line ‘made for music’ and the logo.

3. Flower Chucker — Banksy

Banksy’s work presents us with an obvious form of graphic wit, exemplifying the combination of the the familiar and the play, as he takes an image or situation and subverts it to create a completely different meaning. Here he takes an image of aggression and rebellion, and introduces the play through reversal; bringing beauty, love and kindness into the equation. Taking one powerful image and combining it with a contradictory one in this way, Banksy subverts the original meaning for a strong and immediate impact. However, the graphic wit at work here is not as obvious as we might at first think; any humour involved is dark, and powerful messages are transmitted about power, subversion and injustice. Here is sardonic and provoking wit at its best; the right combination of surprise and recognition give us food for thought.

4. V&A logo Palindrome — Troika

The original Victoria & Albert museum logo was designed by Alan Fletcher in the late 80‘s. A designers’ favourite which has stood the test of time, the logo employs subtle wit and classic innovation. Here is a key example of the broader definition of wit as well as the differences between verbal and graphic wit; the agile thinking of ‘the play’ is illustrated in the merging of the A and the ampersand – it is typographically inventive, it is recognisable and surprising, but it is not witty as in humorous or funny. Recently the logo was taken a step further by Troika with their Palindrome signage. Being asked to rework a classic piece of design is, I’m sure, a daunting task, but Troika tackled this job in a playful and inspired way. They noticed the logo had a symmetry and exploited this in the signage, which splits the logo into three rotating elements, turning so that the logo is alternatively viewable from both sides. All the workings are on show – which adds to the delight.

5. Child Soldier — Adam Ellison

This illustration by Adam Ellison brings together different levels of wit. At face level, the viewer observes the clever contrast between the black and grey gun and the colourful crayons, opposing symbols of war and childhood. Bringing them together in this way is graphically witty; the gun is ‘the familiar’ and the crayons are literally ‘the play’. At the same time the piece draws on visual similarities between bullets and crayons. Then when the illustration is considered alongside its title, a further level of meaning is added to complete the effect, evoking images of children in a context that they should never be in. The loose, freehand quality of the piece brings a childlike feel, which adds more complexity and ambiguity to the contrast between adult and childhood concerns.

In identifying these examples I realised that recognising graphic wit is, in some ways, an individualised effort, with everyone having their own opinions on what is witty, clever and innovative. No doubt others would chose different examples, but hopefully most can recognise the wit in each of my choices, whether it appeals to them or not. The Banksy and Ellison pieces are particularly powerful as they employ strong contrasts and provoke reaction. The Panasonic and V&A examples use different techniques; inventive thought and agile thinking are still at work, but the outcome is more subtle and less provocative. As McAlhone and Stuart point out, wit can arouse negative feelings as well as positive. When you ‘get’ an idea you may show it in a very different way to your neighbour. Designers don’t always get it right, and the equilibrium between recognition and surprise isn’t always maintained.

So what does this mean to those of us practising graphic design and illustration? Can everyone find and use wit in their work, and if we don’t, does it matter? Alina Wheeler once said that “design is intelligence made visible”. If that is the case, then just as people are intelligent in different ways, be that spatially, mathematically or musically, so a range of approaches can be applied to make a piece of design intelligent. Wit is one weapon in the arsenal of a designer trying to create compelling design. Alan Fletcher said that “work should express the kind of person you are”. Before writing this article I didn’t think wit was a major part of my work, as I don’t purposely set out to be humorous or subversive. I knew that I admire the designers and studios who strive to create witty work, but that I also admire several designers whose work is more about structure, form, colour and message. But perhaps this was a false division. I do aspire to be innovative, inventive and to create an impact, and I realised that I have used elements of wit in my work; elements that fall along the subtle end of the spectrum. I don’t set out explicitly looking for a witty approach, but if one should arrive along the way, then all the better.

It is clear that there have been some classic creators of graphic wit over the years: Alan Fletcher, Herb Lubalin, and studios like The Chase, The Partners and Johnson Banks, to name but a few. But there are also lots of new, lesser known faces experimenting with the familiar and the play to great effect. What’s more, an increasing amount of people are creating self initiated witty work for self promotion and circulation on blogs. If we all look at our work using the idea of a spectrum of wit, we could be surprised what we find.

Posted in Art, Identity, Minimalism, Photography, Writing on design on Tuesday, November 29th, 2011

Let us play

As I mentioned in my previous post, I was recently invited to take part in the Celebration of September poster exhibition. Each exhibitor was asked to create an A1 poster for one day in September.

I was given the 25th of September, which was a Sunday. My poster takes the day as its theme, presenting a traditional stained glass window with the message ‘let us play’; a tongue-in-cheek reference to the church call to prayer. Does the poster express a commentary on changes in our society — a decline in moral or spiritual values as we hedonistically seek to fulfil individual needs? Maybe for some, but to me it’s a call to arms, encouraging people to bring the playful back to their weekends, and do something creative. I wanted to make a point about the spiritual value of play.

The brief stipulated that all posters should be handmade. My poster was created using paper-cut collage — each shape cut out by hand using a scalpel. This was time consuming but it was great to have the opportunity to work in a way I don’t normally as part of my everyday work.

On Thursday I visited the busy private view and managed to take some photos of the event. It was good to meet the other creatives involved and to see their posters, which had been created using a range of methods, including screen printing, embroidery, hand drawing and laser cutting. Special thanks to Mortar&Pestle Studio for organising the event.

Posted in Art, Colour, Illustration, Maximalism, Minimalism, Paper, Print, Typography on Monday, October 31st, 2011

A Celebration of September

I have been invited to take part in a poster exhibition organised by Mortar&Pestle Studio and Adrem. The exhibition, which takes place between 24th October and 1st November 2011 will showcase thirty creatives, each exhibiting an A1 poster at the Dreamspace Gallery.

Each exhibitor has been assigned a day within September, in order to create a collaboratively designed calendar for the month. I was given Sunday the 25th, and asked to design a poster specifically for that date. In a fast paced world, individual days are often overlooked for their significance and this exhibition aims to explore each day’s relevance within our own lives.

In a design industry heavily dependent on digital printing, each exhibitor has been asked to use more traditional printing or production methods. The exhibitors have chosen to craft their posters using letterpress, screen-printing, wood blocking, hand drawing, cyanotypes, embroidery, paper-cut collage and light sensitive emulsions. The exhibition will showcase a variety of creative disciplines and mediums forming a wide range of personalised styles and approaches.

I’m really looking forward to the opening night, seeing all the posters and meeting the other exhibitors. I will post my poster design on here once the exhibition has started.

Posted in Art, Colour, Paper, Print, Typography on Tuesday, October 11th, 2011

Andrew Zuckerman: Wisdom

Inspired by the idea that one of the greatest gifts one generation can give to another is the wisdom it has gained from experience, photographer/filmmaker Andrew Zuckerman shot and recorded the thoughts of fifty of the world’s most prominent people over the age of sixty-five.

The images above are from the resulting book; Wisdom. As part of the process, Zuckerman also captured his subjects voices, their physical presence, and their written word. This content, as well as a documentary of the making of the project can be found on a DVD which accompanies the book.

Zuckerman has produced several other stand out projects, including Music, Birds, Creature and High Falls. You can see more on his website.

In the video below he discusses his working process and argues that curiosity is an essential part of the creative’s condition. But it’s even more powerful when combined with rigorous technique.

I often find learning about the process and thoughts that go in to a good piece of work as interesting as the work itself. For me, Zuckerman is definitely an artist who ticks both boxes. Truly inspirational.

Posted in Colour, Minimalism, Photography on Wednesday, September 7th, 2011

Quote: Dieter Rams

Dieter Rams (born 1932) is a German industrial designer from the functionalist school. He was head of design at Braun for almost 30 years.

Posted in Quote on Thursday, August 25th, 2011