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ISSUE
2 24
MaRch 2014
Digital edition
Produced in
The UK
FREELANCE
CAREER
Why getting an agent
could supercharge your
design practice
v i d eo
p re v i e w
Expert branding
insights fromour
ImpactConference
speakers
Typography
in branding
Erik Spiekermann
reveals how type can
define a brands identity
also Featuring...
Pro workflow techniques Design a premium comic collection Behind the scenes on a stunning Toshiba ad Toby & Pete
Add vibrant graphics to a live-streamed broadcast Our critique of the Oscars 2014 branding Design trends And more...
WEL CO M E
MARCH 2014
editors letter
As the inimitable Erik Spiekermann explains in this months
Special Report, a brands choice of typography speaks
volumes. In a saturated marketplace, a distinctive tone of voice
can really cut through the noise and a recognisable typeface is
a surefire way to achieve consistent branding across all media.
We have branding on the brain this month, in the build-up to our
Impact Conference in London on 6 March. You can read more in
our event preview on page 18, including video chats with six of the
expert speakers wed love to see you there.
Back on the typography theme, many of you will have spotted
Jonathan Hoefler and Tobias Frere-Jones public legal spat in
mid-January a sign that even an agency with a towering global
reputation like H&FJ can rip at the seams. With this in mind, in
theInsight section weve asked Adrian Shaughnessy to give his
takeon what happens whencreative partnerships go sour.
You may also have spotted that the Projects section has got a
little fatter this month. Interspersed with the ever-insightful project
diaries, youll now find pro workflow advice to help make your
day-to-day tasks easier plus our take on the latest hardware,
software and creative tech that your studio needs to know about.
Hope you find them useful, and we welcome your feedback.
keep in
touch with
twitter.com/
computerarts
facebook.com/
computerarts
Nick Carson
Editor
nick.carson@futurenet.com
featuring
Erik
Spiekermann
Keith Rondinelli
Louise Sloper
Angelo stitz
Shauna Lynn
Panczyszyn
M EET T H E T E AM
MARCH 2014
Editorial
Contributors
Advertising
0207 042 4122
7 March 2014
Nick Carson
editor
Aided by some new orange trainers, Nicks halfmarathon training kicked into gear this month. Hes
very pleased to have recruited another male to the
team, and hopes the girls will stop bullying him now.
Marketing
Philippa Newman
Group marketing manager
philippa.newman@futurenet.com
SAMantha BOOK Marketing manager
samantha.book@futurenet.com
Julia Sagar
Deputy editor
Julia spent a fortnight hiking in the Himalayas, thus
cementing her ambition to take on a job with roaming
somewhere in the title. Since her return, shes been
gearing up for the next CA Collection Annual.
Circulation
Jo Gulliver
Art editor
Despite her birthday taking place quite a few weeks
ago now, Jos been celebrating ever since. On the
actual day, she bought a bike and cycled into a post.
Shes also been imparting design wisdom onto Rich.
Richard Jefferies
International account manager
richard.jefferies@futurenet.com
Licensing
Ruth Hamilton
Production assistant
Ruth took a trip up North, and watched the new
Hobbit film at Manchesters IMAX (she did not care
forthe spider scene). The highlight of her month was
an incredible brownie gifted to CA by Studio Dumbar.
Subscriptions
Distributed by
Rich Carter
Designer
This month we welcomed Rich to the Computer Arts
team, and hes been busy learning the ropes from
Jo.We know hes committed because he has to cycle
down (and back up) a massive hill to get into the office.
14,675
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production notes
printers
paper
cover
Precision SpecialGloss FSC250gsm
P3-74: Galerie Fine FSC 115gsm
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typefaces
MARCH 2014
ISSUE 2 24
M A RCH 20 14
10
Culture
14
People: We chat with Brian Bowman, whose
career has taken a winding route to his new job at
Spontaneous, and nose around Minimalists studio
Showcase
16
P
laces: Our Places maps illustrator finally gets the
chanceto show off his own hometown of Sydney
18
Insight
24
When designers fall out: As H&FJs battle
rages on, Adrian Shaughnessy reflects on what
happens when creative partnerships go sour
28
30
82
88
T
ouch Type Tool: CAs own Jo Gulliver reveals
how Illustrator CC helps you edit text on the fly
94
96
workflow
Project diaries
We follow top creatives as they art direct a comic collection, explore fantasy
worlds for a tablet spot and create an interactive festival experience 75
need to know
Do you need a mac pro? What Apples shiny
new flagship machine can really do for your studio
C O N TE N TS
MARCH 2014
VIDEO PREVIEW:
IMPACT CONFERENCE
With CAs first ever industry conference
fast approaching, we caught up with six
ofthe speakers to talk branding
20
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page 45
CULTUR E Tren d s
T r e nds CULTURE
To make Coralie Gourguechons
speaker work, the owner curves
asection of the design into a cone
shape, linking the circuit
WE LOVE...
homemade
Electronics
French product designer
Coralie Gourguechons
simplified speaker takes the
mystery outofelectronics
echnology is a fundamental part
of our lives, from the smart
phones in our pockets to our
computers at home and work. Every
daywe use these gadgets and gizmos,
butwe are removed from their inner
workings by their sleek metal cases.
However, as people become more
interested in how things are made,
designers are creating simple kits
thatdemystify electronic workings.
French product designer Coralie
Gourguechons Planche Anatomique
deHaut-Parleur is a DIY paper speaker.
A design is painted in conductive ink and
glue to not only visually represent the
speakers components, but physically act
as a circuit board. When the speaker is
popped out and constructed into a cone,
the sound is amplified. When flattened,
thespeaker is turned off.
CULTUR E T rend s
March 2014
D E S I G N ED FOR LI FE
Brazilian style
Hisham Akira Bharoocha updates Pumas
classic trainer with a fresh rainforest vibe
hen artist, illustrator and
sneaker fiend Hisham Akira
Bharoocha was asked to design
anew line of trainers for Puma, he
jumped at the chance. All the more so
asthe person asking was musician and
model Solange the newly appointed
creative consultant for Puma.
Ive been friends with Solange for
many years and this was the first time
we were able to collaborate on a design
project, Bharoocha says. She just called
me up one day and asked me if I wanted
to be involved. Of course I said yes.
Bharoocha was given a colour palette,
a particular trainer to work on and a
theme the sights and sounds of Brazil
and left to let his imagination run free.
The creative team at Puma truly trusted
the designers visions, he comments,
which always feels great.
Despite being a newbie tothe world
of footwear design, Bharoocha says
his biggest challenge was narrowing
product:
COST:
$150
Stay one
step ahead
with our
barometer
of visual cool
CUTTING EDGE
Designers are
collaborating with
scientists to create
unique printable
inksgrown from
living bacteria.
S TILL FRESH
Tropical flowers
reworked in
synthetic brights on
dark backgrounds
create a psychedelic
floral aesthetic.
M ainstream
Photographic
images capture
the moment
pigment and
paintissmashed
and exploded.
TRENDING
CULTUR E PEO PL E
MARCH 2014
M y st y le I S ...
Nike Air
Max 1
As a former
sneakerhead, the latest
glow-in-the-dark Nike Air
Max range got me excited.
Ilove the unexpected
patterns that appear.
Cline
handbag
This is one of
the most expensive items
Iown. Its an investment
piece it will last forever
and isnt confined to any
trends (snakeprint is a
neutral now, duh). I rarely
dare use it.
N E W VE NTURE S
climbing
Spontaneously
Brian Bowman is taking on a new role as
creative director at Spontaneous, bringing
with him skills gleaned from a unique career
rom livestock feed
supplementassistant to
architect to filmmaker, Brian
Bowmans career hasnt taken the most
conventional route. As he embarks on
hislatest challenge creative director at
NYC-based design studio Spontaneous
we find out what attracted him to the
role, and how his unusual career history
makes him the best man for the job.
4
2
1
3
Anything but
minimalist
With its sexy chairs, astroturf carpet and sombreros, the dcor in Seoul-based
boutiquestudio Minimalists workspace is nothing like its namesake
hanks to Psy, Gangnam has risen
to a dubious fame in the past year.
However, the Seoul district isnt
only responsible for producing nimblelimbed pop stars: since May last year,
Gangnam has also been home to
boutiquedesign studio Minimalist.
The dcor is the work of founder
and creative director Wochan Lee, who
transformed the residential space singlehandedly. And theres not awhite wall or
Eames chair in sight: the studio sports black
walls and an astroturf carpet. A red leather
bar stool (1) sits next to the desk. On the
shelves two sombreros are perched (2).
Although the darkness helps Lee focus,
having painted the walls he was worried
the decoration was too solemn which
is where the astroturf came in. Though
When he launched
Minimalist, creative
director Wochan
Lee transformed a
residential flat into
hisquirky studio
CULTUR E PL A C E S
March 2014
C R E AT I V E quarters
Sydney, Australia
Daniel Gray, the illustrator behind our Places maps,
get his chance to share his own favourite hangouts
andhaunts in his hometown of Sydney
King Street
Newtown
Also known as Eat Street, this is
the main thoroughfare in Newtown. Thai
restaurants, cocktail bars, health food
shops, vintage clothes, artists, students
and the gay community all converge in this
area. Theres always somewhere great to
eat, drink and be merry.
Pork Roll
2 Marrickville
236a Illawarra Rd
Park
3 Sydney
Sydney Park Rd, St Peters
www.bit.ly/SydneyPark
This is an inner-city oasis, full of gardens,
hills and pathways. My husband and I love
to come here with our Vietnamese rolls
and watch everyone have picnics, walk
their dogs or exercise. On a good day,
youcan smell fresh popcorn in the air
fromthe popcorn factory nearby.
Small Club
4 Goodgod
55 Liverpool St, Chinatown
www.goodgodgoodgod.com
Over in Chinatown is this matryoshka doll
of clubs. Dont be fooled by the name,
it packs a punch. In the front is The Dip
canteen famous for its excellent hot dogs.
When youre ready for a shimmy, head to
the back of the club for the Danceteria.
Kinokuniya
5 Books
500 George St
www.kinokuniya.com.au
Right in the middle of the CBD, this
bookshop has terrific art, design and
architecture sections, as well as lots of
anime and graphic novels. They also have
acaf and an art gallery. If Ive got some
time to kill, I always head here.
3
2
D
aniel Gray is an Australian illustrator based between London and Sydney. He has worked with clients
including Graniph, Microsoft and The British Council. www.danielgray.com
CULTUR E E VENT S
MARCH 2014
KEY INFO
Location
London Film Museum
WhEN
6 March 2014
client-side speakers
Coca-Cola, Carlsberg,
Tesco, Barclays, Rapha,
Cineworld Group
agency-side speakers
Taxi Studio, AKQA,
The Future Laboratory,
Michael Wolff, johnson
banks, Brand Union
BOOK your place NOW
www.impactconf.com
packed with
branding insight
E V E nT S CULTURE
MARCH 2014
johnson banks is
renowned for its
branding work in the
cultural and non-profit
sectors. Founder
Michael Johnson
willbesharing his
experience at Impact
Taxi Studios Spencer Buck and Jessica Felby at Carlsberg have a strong collaborative relationship,
and enjoy a bit of creative one-upmanship they will be discussing drinks branding at Impact
Some parts of
the industry can
definitely be riskier
than others
GARY ASPDEN, BRAND CONSULTANT, ADIDAS
CULTUR E E VENT S
MARCH 2014
impact conference
VIDEO PREVIEW
Six speakers reveal some of the fascinating topics that theyll be
exploring in more depth atImpact: www.bit.ly/ImpactPreview
Bonus
content!
Get EVEN MORE EXCLUSIVE
video AND IMAGERY in
ouriPad edition
see p45
Speakers
J ames Sommerville
Coca-Cola
J ames Hilton
AKQA
p re v i e w o n e
S U N ITA YEO MAN S
p re v i e w t w o
JAM E S H I LTO N
pencer Buck
S
Taxi Studio
Jessica Felby
Carlsberg
ichael Johnson
M
johnson banks
lenn Tutssel
G
Brand Union
ichael Wolff
M
Michael Wolff & Company
live Grinyer
C
Barclays
p re v i e w t h ree
S PEN C ER B U C K
p re v i e w f o ur
J E S S I CA FELBY
om Savigar
T
The Future Laboratory
unita Yeomans
S
Tesco
ee Cooper
D
Decide
ilys Maltby
D
Circus
ouise Kyme
L
British Heart Foundation
J ames Fairbank
Rapha
p re v i e w f i v e
D I LYS MALTBY
p re v i e w s i x
D EE COOPER
eter Williams
P
Cineworld
oss Phillips
R
Dalziel and Pow
eborah Szebeko
D
thinkpublic
20 June 2014,
New World Stages
Brendan Dawes, Jenn Lukas, Ethan Marcotte,
Karen McGrane and more to be announced
REGISTER NOW AT
www.generateconf.com
CULTUR E E V E N TS
March 2014
W h at s on
Talking digital
3 Mar 2014
D&AD, Britannia House, 68-80
Hanbury Street, London, UK
www.bit.ly/talkingdigital
Bo Hellberg executive creative
director at Tribal DDB Paris, and
previously creative director at
digital agencies likeLost Boys and
Ogilvy leads this D&AD session
on digital environments in design,
and how to work with an audience
thats no longer made up of
consumers, but users.
Impact Conference
6 Mar 2014
London Film Museum,
RiversideBuilding, County
Hall,London, UK
www.impactconf.com
Impact marks a milestone in
Computer Arts history our firstever industry conference. Well be
celebrating excellence in branding
and looking at how to achieve it,
with speakers including Michael
Wolff and Michael Johnson. The
Brand Impact Awards ceremony
will take place afterwards. For
more info, flick back to our event
preview on page 18.
OFFSET
Future Everything
Dejando Huella
Fuse
computerarts.creativeb loq.com
- 22 -
18 April 2014
Seattle Public Library, 1000
Fourth Avenue, Seattle, USA
www.bit.ly/SPL_KenGarland
Catch British graphic designer
KenGarland speaking as part
ofthe Design Lecture Series.
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march 2014
Louise Sloper
Head of design, BETC London
www.betc.co.uk
Craig Ward
Designer and art director
www.wordsarepictures.co.uk
regular WRITERS
LIZA ENEBEIS
creative Director
studio dumbar
laura
jordan-bambach
president, d&ad
HOSS GIFFORD
digital strategist
and animator
dawn hancock
founder,
firebelly design
craig ward
designer and
artdirector
louise sloper
head of design,
betc london
When
designers
fall out
As H&FJ hits the headlines in a big
way, Adrian Shaughnessy shares
histhoughts on why some creative
partnerships are doomed to fail
march 2014
MARCH 2014
Rob March
Creative Director, Beard
www.wearebeard.com
We once formed a collaboration
with a marketing and PR company.
We did aload of design work for
them, for which we were told we
would receive reciprocal work.
Suffice to say this didnt happen.
When confronted, theconversation
didnt go well. In hindsight, we got
into bed too soon, and didnt have
any kind of written arrangement in
place if things went wrong. But you
live and learn. Werestill happy to
work with other businesses were
just a bit more savvy as a result.
Karl Maier
co-founder, Craig & Karl
www.craigandkarl.com
computerarts.creativeb loq.com
- 26 -
Mario Hugo
Co-founder,
Hugo & Marie
www.hugoandmarie.com
A good partnership feels
natural even compromise
should prove totally organic.
Argue, be passionate about the
work. Be honest and open with
your ideas and feelings. The
relationship wont work if one
party is too passive. You need to
encourage discussion evenif each
may find they have separate roles.
DESIG N M AT T E R S Insight
MARCH 2014
Jacob Kent-Ledger
Managing director,
kentledger
www.kentledger.com
A few years ago, a friend and I joined
forces for a creative mobile app concept,
but the idea fell apart before launch
because we had arguments over the
ownershipof the idea. Because it was a
small idea and we wanted to get it off the
ground, we hadnt done any paperwork.
Somy advice is go with your creative
ideaor project, but remember the
paperwork and legal side.
Yuko Shimizu
Illustrator
www.yukoart.com
Your views
Comment on Facebook,
ortweet @ComputerArts
with your thoughts using
#DesignMatters
@EchoicAudio
When the sum ofthe
parts is bigger than the
individuals. Also when
both parties have
creative passion towards
acommon goal.
nan na Hvass
Co-founder, Hvass&Hannibal
www.hvasshannibal.dk
Weve never had an extremely serious
disagreement where weve thrown things
at each other or havent spoken for weeks,
but of course smaller disagreements
happen once in a while and they should,
as we are two different people. Sometimes
we dont agree on which direction to take
an idea, and mostly the best solution is to
find a third direction, because its much
easier to complete a project if we both feel
strongly for the concept. One secret to a
successful partnership is to give each other
space and positive feedback.
@karlssonwilker
We made it a custom to
go out for a night at the
beginning of each year,
where we ask each other
if we want to do this one
more year.
@steviec123
By not competing with
each other but learning
and collaborating youll
find creative success.
Scott Birnie
Trust, delivering what
you said you would, and
honesty (no bullshitting).
Also, personality, humour
and professionality.
I n s i g h t L o u i se Sl o per
March 2014
A question of style
Everyone has their favourite styles, but good designers need
flexibility and an open mind: Louise Sloper on why it might be
time to throw out your skinny trousers and thick-rimmed glasses
computerarts.creativeb loq.com
- 28 -
I n s i g h t C r a i g wa rd
Mar ch 2014
computerarts.creativeb loq.com
- 30 -
PROJECT
REVIEW
Branding in motion
Academy of Motion Picture Arts and Sciences rebrand
Unveiled 17 December 2013 (rollout ongoing)
by 180LA
www.180la.com
S ho w c a s e
March 2014
As the new Academy and Oscars logos show, the letter A is both effective
and subtle as a unifying element. The Academy wanted a system that
would keep them relevant, present and true to what the brand stands for,
explains 180LAs head of design, Richard Harrington.
The cover of the new brand book is an effective iteration of the new
marque. The project was about encouraging an approach that will
enable the Academy to tap into its own pool of creative resources.
As well as introducing a logo for the whole organisation for the very first
time, the rebrand explores the Academys philosophy and approach to its
driving force: imagination.
Prototype covers for the Academys magazine explore the A motif, part
ofan ongoing process of experimenting with different type treatments. Its
a glimpse of the potential for creative interpretations of the new marque.
Richard Harrington enjoyed immersing himself in the Academys history
during many hours spent in the archive. It was lovely to sit down there
and meet people who are so passionate about their work, he says.
computerarts.creativeb loq.com
- 34 -
Th e very b e s t ne w de si g n
March 2014
UnderConsideration
underconsideration.com
Becky Barker
Landor
www.landor.com
Chris Moody
Wolff Olins
www.wolffolins.com
S ho w c a s e
March 2014
Suspended light
Misty Traffic Lights
by Lucas Zimmermann
www.behance.net/lucasz2005
computerarts.creativeb loq.com
- 36 -
Th e very b e s t ne w de si g n
March 2014
READ me
Handmade Book cover
by Louise Hamer
www.louisehamer.co.uk
S ho w c a s e
March 2014
computerarts.creativeb loq.com
- 38 -
Th e very b e s t ne w de si g n
March 2014
A splash of Port
Port Vintage typeface
by Onrepeat
www.onrepeat.net
S ho w c a s e
March 2014
computerarts.creativeb loq.com
- 40 -
Th e very b e s t ne w de si g n
March 2014
Creature comforts
studio Identity
by Creature Seattle
www.welcometocreature.com
Th e very b e s t ne w de si g n
March 2014
MOTION
HIGHLIGHT
On the ball
Animated magazine cover
by Ral Gonzlez
www.behance.net/rulascalaca
S ho w c a s e
March 2014
FEATURED
SHOWREEL
computerarts.creativeb loq.com
- 44 -
T h e Awa rd - winning
Computer Arts readers know design matters. Thats why weve completely
reinvented our digital edition as a fully interactive iPad experience with
impeccable usability. Theres also additional interactive content,
such as image galleries and bonus videos, which bring the
motion content featured in the magazine to life.
brand
Type is
T ypogr a p hy i n b r a ndi ng
S p e c i a l Re p o r t
Sp eci al R e p o r T
March 2014
Building an identity
It is thus not surprising that the communication industry
spends billions designing these messages in order for them
to reach their audiences, from packaging to annual reports,
from TV spots to banner ads. Every brand strives to shape
its communication in order for it to be memorable,
authentic, believable, andattributable. The identity
ofthemessage hasto be
inline with the identity
ofthesender.
These days, even
anaccountant knows that
abrand needs a logo, like a
badge on the corporate cap.
A logo alone, however,
doesnt make a brand.
Howa brand speaks, how
itpresents itself, cannot
beleft to the unpredictable
mood of the marketplace or
some design trend. It hasto
fit the content, the times,
the medium.
Some brands have managed to achieve uniqueness
by owning a colour. While seemingly unsubtle and even
annoying at first, the colour magenta is now equated with
T-Mobile in its markets in Europe and the US. Turquoise
stands for either Tiffanys the jeweller or Bianchi, the
bicycle makers. Those can coexist under one colour
because they have no overlap. Red is Vodafone, Manchester
United (as well as Bayern Munich and dozens of other
football clubs), Audi or once upon a time Marlboro.
British brands tend to favour British racing green
and othersubtle tones, andeven non-smokers know that
Som e b r and s ac hi e v e
uniqu eness by owning
ac olour ... If t his
isjoin ed by a uniqu e
typ ef ac e, a br and s
iden tity be c om es m uc h
easier to ex p ress
andm ain t ain
computerart s.creativebloq.co m
- 48 -
T ypogr a p hy i n b r a ndi ng
March 2014
computerart s.creativebloq.co m
- 49 -
Sp eci al R e p o r T
March 2014
Matters of familiarity
If a distinctive colour is joined by a unique typeface,
however, a brands identity becomes much easier to express
and maintain. We know Facebook not only by its (boring
and predictable) blue, but also by its typeface. Its called
Klavika and was designed by Eric Olson. It takes its place
slightly to the left of
Helvetica. Itis a little
different from other
typefaces and that small
falone is enough to
recognise the brand by. It
does, of course, help when a
logo is seen by billions of
people every day, but at the
beginning even Facebook
was an unknown name.
That combination of blue
and a slightly odd letter
helped build the brand.
Every country
hasthose combinations:
whatwould British motorways be without itscombination
of blue signs with the Transport typeface on them? It
always takes me a while to get used to green signs in
Switzerland or France because my local German Autobahn
alsosports blue. And the DIN typeface on our signs has
also become the standard typographic expression of
engineering neutrality and solidconstruction.
Approaching a newsstand, we recognise our
favourite newspaper well before weve read the masthead.
In fact, we do not read mastheads, we recognise them. As
we do the faces of our friends, regardless of changes in
w e do no t r e ad
m ast heads , we
rec og nisethem . If th e
Gaur dian ap p ear ed
thus on e day, I bet m ost
readers would no t
notic e, as long a s IT wa s
th e r ig ht t ypef ac e
computerart s.creativebloq.co m
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T ypogr a p hy i n b r a ndi ng
March 2014
aAbBcCdDeEfFgGhHiIjJkKlLmMnN
oOpPqQrRsStTuUvVwWxXyYzZ*
{&}
[$1234567890+1234567890%]
(.,;:=#/|!?@-)
computerart s.creativebloq.co m
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Fira
for Firefox
Fira was originally called Moz and designed for
Telefonica in Spain for a project it was doing
withthe Mozilla Foundation in 2012. One year
later, Mozilla started work on its own operating
system, and we were asked to expand the face
into aproper family, renaming it Fira, after the
new Firefox browser.
The type was designed mostly to be seen
onsmall screens. Type designer Ralph Du Carrois
and myself based Fira on the Mozilla Foundations
own house face, FF Meta. We made it wider
thus a little more legible on the smaller screens
and with less noise in the details.
High resolution screens allow for subtle
grades, so Fira has four weights, from Light to
Bold. Even lighter and bolder weights may follow,
all with Italics. Coders use monospaced fonts and
they get Fira Mono, Regular and Bold. Fira is
available under an Open Source license.
Sp eci al R e p o r T
March 2014
14
aAbBeEgGiI
aAbBeEgGiI
aAbBeEgGiI
aAbBeEgGiI
aAbBeEgGiI
aAbBeEgGiI
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T ypog r a p hy i n b r a ndi ng
March 2014
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Sp eci al R e p o r T
March 2014
A unique approach
An exclusive typographic system of this complexity used
tobe the exception. While it was possible, financially and
technically, to design and produce a typeface exclusively
forthe use of one company, it was not really feasible.
Once,however, the samepersonal computer that was used
to design typefaces and produce fonts was also used as the
main communication tool inside companies, it became
easier to convince marketing and technical people alike
that fonts were meant for
more than the occasional
campaign headline, and
easier to implement than
new versions ofWindows.
But even as late as
the 90s, marketing folk
didnt understand that
anexclusive typeface not
only created anexclusive
look for their brand, but
alsosaved money in its
implementation, compared
to having to license
whatever new stuff the
advertising agency would
suggest from season to season.
When Christian Schwartz and I were asked to
design a house typeface for Bosch in 2004, the initiative
didnt stem from its desire to communicate with one voice,
but actually from the procurement people who were fed up
having to spend lots of money as soon as they had to license
their existing fonts for yet another market or language
system. Baskerville and Akzidenz Grotesk were its existing
faces, as the communication people at Bosch already
understood that just a few weights of a sans were not
enough to cover the width and breadth of the brand which
Th e hou se f ac es hav e
p aid of f in te r ms
of m oney sav ed on
lic en sesand log i st ic s ,
no t to m en tion
im p r ovedinte r nal
c om m unic ation s and
br and r ec og nit ion
Saving face
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T ypogr a p hy i n b r a ndi ng
March 2014
ITC Officina
for The Economist
I redesigned The Economist newspaper with Ben Acornley from MetaDesign
London, bringing in type designer Ole Schfer in Berlin to help me with
theredesign of the Economist text face. It was felt that readers found thetext
too dense and offputting, so before we started work on the new layout, we
redesigned the text face (two weights plus italics only), making itsimpler and
less dense. While actually set smaller than before, more leading and open
tracking make it more pleasant to read.
Information graphics are set in ITC Officina Sans. As the heavy weights
were considered too goofy, we made a special display version for the cover,
now available as ITC Officina Display.
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Sp eci al R e p o r T
March 2014
and installed easily, and the files are much smaller than
even the smallest images.
As brands communicate across media they need
tomake sure that their online presence doesnt deviate
from the standards used for print. While colour has been
free on screens for a long time, type used to be expensive
ordifficult to get. Today, however, there is no excuse not
touse proper typefaces on the web, in apps and even for
that little screen on your microwave oven.
Typographic choices
We have never had better
typographic choices, with
more typefaces being added
into the mix every day
bygreat type designers
from all over the world.
Andif you havent got
thebudget, the expertise
orthe guts to design an
exclusive typeface for your
clients, you can easily find
the right face for the job
and make it your own by
using it properly. A good
compromise would be
tolicense an existing face and have it renamed for the
particular job or the client. Most foundries do that for
asmallfee. This way you can make sure that other
suppliers or the people in-house have no more excuses
notto use theproper face.
A brand that doesnt pull out all the typographic
stops will not communicate properly. Only those that
doknow how to speak to their audiences will survive.
Typeis visible language.
F on ts don t c ar e
wh et h er th ey r un on
a Mac or a PC, they
c an be dist r ibute d and
inst all ed ea sily and
t hef iles ar e m uc h
s m all er than even
s m allim ag es
Design and music: still a match made in heaven? In next issues Special Report, Adrian Shaughnessy explores how designers
longstanding love affair with the music industry hasevolved to cater to an increasingly demanding market and presents his
selectionofinspiring examples from around the world.
computerart s.creativebloq.co m
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impact.
Introducing the
Impact Conference
A one day event on how to achieve
excellence and consistency in
branding across all formats and
market sectors.
06 March 2014
LONDON FILM MUSEUM
SE1 7BP
www.impactconf.com
@Impact_conf
Presented by
Defying definition
Toby Pike and Pete Stopniak excel in print, but last year a
custom light installation catapulted their studio onto the world
stage. They tell us why canny collaboration is the way forward
Words: Julia Sagar
Photography: Jeremy Shaw
www.jeremyshaw.com.au
Stu d i o L i f e
March 2014
One of a pair of
images, Rub Me
isanexploration
intophotographic
typography. Selfinitiated work is an
important aspect
ofstudio life
T oby & P e t e
March 2014
Project focus
Flume infinit y
prism and visuals
The studios biggest project
spans live action, motion
graphics, CGI, generative
animation and more
Toby & Petes ongoing work with
Australian electro artist Flume is a
celebration in creative collaboration,
demonstrating exactly what can be
achieved when talented craftspeople
pool their skills together.
Consisting of a custom LED
installation including bespoke
hardware and software and just
undertwo hours of motion content, all
seamlessly integrated and controlled
through Flumes performance laptop,
the infinity prism and accompanying
visuals were a first for the studio and
required additional expertise to bring
themto life. It was challenging across
every field, admits Pike. Individually,
each element going into the project
was fairly straightforward, but the sheer
multitude of parts and the fact they
all had to interact with one another
was at times overwhelming.
Electronics developer Nick Clarke
created the prisms control box, while
Toby & Petes interactive developer
Lukasz Karluk designed the prism
software, and tour manager Lynden
Gare handled everything from lighting
design to shipping the prism around
the world. But the whole team played
apart in producing the project.
We were given so much freedom
that everyone had a section they could
express themselves in, says Stopniak.
The first show had 18,000 people
anda live national broadcast. No biggie!
The best bit? Seeing people losing their
minds atthe premiere. Its been great.
Stu d i o L i f e
March 2014
T oby & P e t e
March 2014
Project focus
Daily Juice
Toby & Pete specialises in CGI,
but sometimes theres just no
substitute for model-making
One of the biggest misconceptions around
Toby & Petes stunning artwork for The Daily
Juice Company is that it was created in CGI.
Infact, the piece represents a painstaking
combination of model-making, photography
and the teams trademark hyperreal
photo-illustration skills. The brief was to
useCGI, says Pike, but we didnt think it
was right for the natural and appetising
feelyou want a food product to have.
Tasked to build a fantastical juicing
machine, the pair took inspiration from
cartoonist Rube Goldberg and projects like
theCoca-Cola Happiness Factory to create
asurreal world, dense with fun and action.
After constructing catapults, water mills and
more, the studio worked with photographer
and long-standing collaborator Andreas
Smetana who shot orange splashes and
captured the landscape before combining
thedifferent elements in Photoshop.
Planning was really intense, says Pike.
There were so many elements we ran the risk
of not shooting enough, or shooting things in
the wrong way. Thepost work was incredibly
complex and tedious. It was like making dozens
of images stitched together to create the one
image. He smiles: We wanted people to
discover lots of scenarios buried within it.
Stu d i o L i f e
March 2014
T oby & P e t e
March 2014
Project focus
Steve Back
Good enough to jump on: Toby & Petes nostalgia-inducing inflatable
typetreatmentcould, Stopniak reckons, work in real-life
Before finding fame with Flume, Stopniak and
Pike were busy making a name for themselves
with their eye-catching type treatments. One of
the best-known is a playful logo for Australian
creative director Steve Back.
Steve wanted something personal for his folio,
Stopniak begins. We wanted to make the bouncy
castle plausible, so there was a lot of sketching to
figure out how all the letters could co-exist in space
without crashing into one another.
Stopniak modelled the piece in Modo and
rendered it in Maya with Mental Ray, before
Stu d i o L i f e
March 2014
both happy with, says Stopniak. If the job calls for skills
beyond our own, then we call the experts.
The beauty of their setup is that feedback is always
on hand. The creatives sit in one, long desk arrangement,
and while freelancers rent their desks and are free to
work on their own projects, the environment facilitates
a constant, invaluable feedback loop, with designers
swapping input and opinion whether theyre directly
involved in a project or not.
Its a fun place to work, Stopniak adds. Theres
always music playing and someone doing something cool.
It can be hard to concentrate at times, but you also get that
life-saving feedback when you hit a wall. Theres generally
one or two people who come and go each month as well,
which keeps it interesting. He laughs: Were down the
block from the local pub so were always hanging out there
together perhaps a little too much at times. Long hours in
the studio can bring on the cabin fever.
McDonald, Toby & Petes third full-time designer,
joined the team 18 months ago: Lachie rang up from
Melbourne one day looking for work experience, but we
thought he sounded weird on the phone, Stopniak recalls.
We told him to send us some work anyway. As soon as we
saw his book, we told him to pack his bags and head up to
Sydney. There was photography, 3D, painting, sculptures in
Blu-Tac and a general sense of good fun. Hes doing some
amazing work in 3D, but he really is capable of anything.
Currently, there are no plans to bring in any other
designers full-time. As Stopniak points out, with the studios
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g e t a n a g e nt
March 2014
Sign and
deliver
Words:
Anne Wollenberg
Illustration:
Graham Robson
www.grahamrobson.com
Eirian
Chapman
Ill u s t r a t o r
and designer
Melbourne illustrator and graphic
designer Eirian is represented by
TheJacky Winter Group. She works
for clients in advertising, editorial,
digital and retail.
www.eirianchapman.com
Joris
Op r i n s
Job, Joris
&Marieke
Joris met Job Roggeveen and
Marieke Blaauw at the Design
Academy Eindhoven. Signed to Jelly
London, they work across animation,
character design and illustration.
www.jobjorisenmarieke.nl
S h a u n a Ly n n
Panczyszyn
H a n d l e tt e r e r
& i ll u s t r a t o r
Based in Orlando, Florida, Shauna is
a graphic designer, hand-letterer and
illustrator with a penchant for digital
chalk drawings. She is represented by
Illustration Ltd.
www.shaunaparmesan.com
computerarts .creativebloq.com
- 69 -
Jeremy
Wortsman
The Jacky
Winter Group
As head of Australian creative
agencyTheJacky Winter Group,
Jeremys role includes directing
bricks-and-mortar gallery space
Lamington Drive.
www.jackywinter.com
industry issues
March 2014
Deciphering contracts
Victoria Pearce, senior agent at Illustration Ltd,
explains how to ensure your contracts sound
1 How much commission will the agent get?
Agencies are free to set their own commission rates, so check what
isbeing proposed before signing any contract. As a broad rule of
thumb, 25 to 35 per cent agency commission is industry standard.
Whatever the calculation, however, the contract should specify the
structure clearly.
2 Break down promotional costs
Advertising, marketing and promotional costsshould be specified and
clear up-front. Someagents will ask you to pay aportion usually in
the region of 25 per cent to cover certain costs. Larger agencies
may operate an efficient, collective promotional spend, and charge
ashared nominal annual cost when you haveestablished a workflow.
On the other hand, smaller agencies might be more limited and
require promotional costs from you, but the types of promotion
theydo might be more tailored to your style and market.
3 Specify territorial agreements
Your contract should clearly outline the territories in which your
agent will represent you. For example: worldwide, UK and USA,
UKand Europe, or any other combination ofcountries and regions
where the agent might have satellite offices or sister agencies. Your
contract can also exclude territories where youare represented by
another agent.
4 Retain copyright
Under the Copyright, Design and Patents Act1988, the creator
should always retain ownership ofthe original artwork, unless
achange is agreed in writing between the agent and client,
andwithyour prior agreement. The client is normally granted a
licence to reproduce the artwork solely for the purposes negotiated
and detailed on the order confirmation. Pay very close attention to
this part of your contract dont blindly sign away your copyright
toyour client, or to your agent for that matter.
5 Acknowledge houseclients
A good agent will appreciate that you have invested time, effort
andmoney in developing a number ofyour own clients. These are
deemed house clients, and youll be able to supply a list of them.
When you work for house clients, you wont have to pay your agent
commission. Or, the agent might offer to run these clients for you
through the agency, for a reduced commission, and absolve you of
theresponsibility of paperwork, chasing money and so.
6 Breaking up is nevereasy...
...But having the terms clearly laid out will help to make the process
aspain-free as possible. Aswith amarriage, you might not wish to
think about splitting up before your honeymoon, but should things
not work out for either party, itll help enormously to have already
agreed the terms. These should cover the notice period required for
either party to say goodbye and how theprocess is managed.
7 pick up the freelance handbook
For more tips on how to get the most from your agent plus all the
advice you need to be your own boss dont miss TheFreelance
Handbook, updated for 2014 and on sale now (www.bit.ly/1jiDMnX).
computerarts .creativebloq.com
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g e t a n a g e nt
March 2014
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OC Weekly image
oneofthe commissions
Panczyszyn has won since
joining Illustration Ltd
industry issues
March 2014
Decisions, decisions
When it comes to picking the right agency for
you,Portman advises asking around for word-of-mouth
recommendations before making any decisions. Consider
size too, as alarge agency may have greater resources
oraccess to bigger clients, while you might get more
individual attention, and even more opportunities, from
aboutique agency. This very much depends on the
agency,which is why its so important to ask around
abouttheir reputation.
A good agent will act as a bridge between you and
the client, says Mathieu Julien of Les JeanClode. They
computerarts .creativebloq.com
- 72 -
I NT R O P RO J E C TS
MARCH 2014
20-PAGE
EXTENDED SECTION!
Now with pro workflow
advice, plus the latest
creative tech
zero collected
edition: unity
and discord
TOMORROWWORLD TV:
PSYCHEDELICPARTICLE PARTY
ENDLESS PERFORMANCE:
Brave new worlds
WORKFLOW
TIPS
PROJECTS
March 2014
PROJECT FACTFILE
Brief
Already responsible for the covers
and brand design direction of Zero,
amonthly spy comic from writer
AlesKot, helloMuller was tasked with
creating acohesive design for a special
collected edition of the first five issues.
Clients
Ales Kot
www.aleskot.tumblr.com
Image Comics
www.imagecomics.com
Studio
helloMuller
www.hellomuller.com
Project Duration
Ongoing
Collected edition lIve date
February 2014
Tom Muller
Designer, HelloMuller
Designer and art director Tom
runs his own studio, helloMuller,
in London. He designs comics,
culture, entertainment and
technology, and has done so for the
likes of Image Comics, Wired, DC
Comics, Universal Studios, Zonza,
Paramount Pictures and Samsung.
March 2014
Project at a glance
Tom Muller gives a step-by-step guide to how the Zero covers typically take shape
1 Finding themes
2 A typographic take
3 Keeping consistent
4 Font options
5 End titles
6 A quick turnaround
8 Collection teaser
9 Off to print
PROJECTS
March 2014
Work in progress
initial
cover ideas
The concepts that
got discarded
asthe collected
edition cover
developed
Before we settled
on incorporating
artwork taken from
the issue covers,
we were planning
to use abstract,
typography-based
cover designs
for the collected
series, focused on
the Zero logo.
The cover
treatment of
issue two was too
flat, so I updated
the logo, giving
it a solid shadow
and increasing
saturation to make
it much punchier
when set next to
the other covers.
Initial design
concepts were
very unstructured,
deliberately setting
wide gaps in the
text and relying
on gradients.
However, it lacked
focus, and wasnt
that legible from
adistance.
March 2014
Creating a cover
Tom Muller on how he created the raw
lookof the collected edition cover
Step 1
With the proof of the concept mockup as a guide,
Icreated the collection cover by mounting the torn cover
prints on foam board, making sure the fragments spelled
out Zero, and that the key elements of each single issue
were shown in the final assembled cover piece.
Step 2
After scanning the back and front cover images at
400dpi, I edited them in Photoshop to create the
wraparound design. I started laying out the cover
elements, using a title lockup that I had previously
designed to keep the visual language and messaging
consistent and recognisable.
Step 1
Step 3
The collection also needed new title and chapter pages.
Torn covers were mounted on coloured papers and
scanned as text, resulting in a uniform, rough, photocopied
look that degrades further as you read the book. This
balance of handmade assets and digital manipulation
became the aesthetic running through the collection.
Step 4
I laid out the cover content, including the book title, press
quotes and synopsis in a separate document and printed
that out on bright orange paper. This was subsequently
scanned and edited to make sure everything was legible,
but keeping that subtle print effect that slightly degrades
the type, adding to the overall look of the cover.
Step 2
Step 4
Step 3
PROJECTS
M AR CH 2014
Conclusion
The Zero series was announced in June 2013 and the
first issue launched on the third week of September 2013.
This was followed by the first collection (issues one to
five) on 19 February 2014.
I think the collection design is another step up on the
Zero ladder. The beauty of this project is that we can
reinvent the comic every single issue, and in the process
refine the there is no formula formula. My main goal
for the collected edition was to capture the idea that the
book is made from the pieces of the single stories, within
astriking design, and I think we achieved that.
The way the series, and each issue, is created is
deadlines permitting a very open, collaborative process
that allows for creative experimentation. The intent
has always been to make a statement with this and
were doing just that. And if I wanted to do anything
differently, theres always the next issue of Zero.
Image Comics offers massive support in terms of
marketing, sales and production. The team will comb
through the final design deliverables, assist with
production cost estimates and make sure the books get
printed and shipped. Theyre great champions of creatorowned comics and a good partner to have in your corner.
Ales Kot said every single person involved in this
project was a great artist, adding: I hired everyone
tocollaborate in an open space, putting our creativity
and our will together to reach a new destination in
contemporary fiction. We succeeded.
Zero has been incredibly well received by press and
readers alike, with the cover designs helping to create
a buzz and awareness in a marketplace and industry
where design and designers are largely invisible.
Personally, its very gratifying to make a dent in the
perception of comics and how theyre designed.
PROJECT
SOUNDTRACK
Tom Muller shares the
tracks that were on
repeat in his studio while
working on Zero
Bold colours were intended to allow for stronger graphics and, most
importantly, stand out on the bookshelves in stores
The final wraparound cover of the collection, incorporating deliberate print errors to add an extra tactile element
Demdike Stare: Test
Pressings 001-004
Ive had these EPs from the
Manchester-based duo on
loop many times while working
on Zero. The broken, haunted
industrial soundscape is perfect
to submerge yourself in the
world of Zero.
Machinedrum:
Vapor City
A fantastic album mixing
upbeat rhythm with desolate,
ambient soundscapes that
could be froma film soundtrack.
Theresavariety of more
pop-oriented tracks and
darkerclub-style sounds.
Slugabed:
DO U C ME THO / U RIGHT
This two-track single from
Slugabed includes some trapbaselines to keep the adrenaline
flowing. These tracks are my
party music for when Ineed
abit of a break from the usual
droning soundscapes.
ANNUAL 2014
SEE COMPUTERARTS
.CREATIVEBLOQ.COM
FOR DETAILS
OO
S
ING
M
CO
PROJECTS
March 2014
P HO T O S HOP BE S T P R A C T ICE
The brief
Luke ONeill
luke oneill
Art Editor
T3 magazine
Currently art editor at T3 magazine,
graphic designer and illustrator
Luke launched and designed the
original Computer Arts Collection
series. His illustration work can
alsobe found gracing the covers
ofour Presents series.
www.lukeoneill.co.uk
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March 2014
6 Brushing in detail
Clipping masks are another invaluable nondestructive technique. Set up a document with
asolid background, add a new layer with ashape
init, and paste in a new, detailed layer above it. In
theLayers panel, select Create Clipping Mask to
mask out areas based on the layer below.
awards
2014
VOTE
NOW
Outstanding contribution
www.thenetawards.com
March 2014
Endless Performance:
BRave new worlds
Illustrator Chris Martin created strange worlds and
thecuriouscharacters that inhabit them to help Psyop
deliveramagical spot for Toshibas latest tablet
PROJECT FACTFILE
Brief
When Psyop was asked to explore
the features of Toshibas new tablet in
a spot entited Endless Performance,
it turned to illustrator Chris Martin
to design a range of different worlds
andthe characters that inhabit them.
Clients
Psyop
www.psyop.tv
Toshiba Europe
www.toshiba.eu
Creative
Chris Martin
www.mrchrismartin.co.uk
Agency
McCann Enterprise
www.mccannenterprise.com
Project duration
Two days
Live date
December 2013
Chris Martin
Illustrator
Chris is a D&AD award-winning
illustrator, concept artist and
character designer hailing
from North London. His clients
include the Guardian, Nokia,
Umbro, Nike, Dazed & Confused,
Nexus Productions, Love, RSPB,
Orange and Ray-Ban.
com puterarts.creativeb loq.com
- 85 -
PROJECTS
March 2014
STAGE FIVE These went to Psyop to add the fractal zoom some objects needed to be repositioned to allow this to work effectively.
PROJECT
evolution
Chris martin reveals how
he created and populated
Toshibas tablet world
computerarts.creativeb loq.com
- 86 -
Developing characters
March 2014
How I work
Chris Martin explains
how his piles of initial
sketches turned into
afinal product
STAGE SIX After compositing, the material was colour-graded and music added, to give the final spot.
building worlds
Getting animated
Time to Deliver
PROJECTS
MARCH 2014
W OR K FL O W BEST- PRACTICE
create pixel-perfect
web graphics
Web designer and illustrator Matt Hamm reveals how to combine Kuler with
Illustrator to create harmonious web graphics that scale crisply every time
Kuler is a great tool for creating and browsing harmonious colour palettes, ideal for vector work
the brief
Matt Hamm
computerarts.creativeb loq.com
- 88 -
Matt Hamm
creative director,
supereight studio
Co-founder of Guildford-based
web design studio Supereight,
Mattis passionate about all fields
of design from typography to user
experience. He specialises in logos
and icons, and has been designing
websites since 1998.
www.matthamm.com
WORKFL OW : w e b g r a p h i c s
MARCH 2014
3 Saving palettes
5 Pixel Preview
6 Trouble-free pixels
7Snap happy
8Group alignment
9A nd finally
To ensure your Illustrator artwork appears pixelsharp on the web, it really helps to create perfectly
square artboards that way, the exact centre of the
artboard will always fall at the corner of a pixel, and
not in the middle of one. Of course, this wont always
be possible, but is always worth bearing in mind.
PROJECTS
MARCH 2014
TomorrowWorld TV:
Psychedelic particle party
Toronto-based Jam3 provided a live-streamed, interactive concert experience for
electronicamusic festival TomorrowWorld, bringing the event to fans at home
PROJECT FACTFILE
Brief
Toronto-based Jam3 brought the
three-day TomorrowWorld music
festival to interactive life and into
the reach of millions of viewers
worldwide, by deploying skills in
interactive design, motion graphics
and particle physics to create a
stimulating visualisation of the event.
Client
Google
www.google.com
studio
Jam3
www.jam3.com
Project duration
Six weeks
Live date
September 2013
Di a r Y 3: J A M 3
MARCH 2014
Pablo Vio
Partner and creative
director, Jam3
Pablos visionary approach has been key
toJam3s multiple award-winning projects,
including the interactive documentary Bear 71,
the Cannes Lions Gold Cyber Lion, FWA Site
of the Year, One Show Interactives Gold Pencil,
and Communication Arts awards.
Mike Dobell
Executive producer, Jam3
Michael arrived at Jam3 with immediate
impact just over a year ago, producing
award-winning work for both Skittles and
Norwegian Cruise Lines. He currently
oversees all production for the companys
agency and direct-to-brand clients and leads
US new business strategy and development.
WORK IN PROGRESs
Different particle engines were created for each daily theme, as well as headlining versions for day and night
KEEPING
theFOCUS
Jam3s Executive
producer Michael
Dobell explains how
the team established
anefficient workflow
PROJECTS
MARCH 2014
Tomasz Dysinski
Senior Developer, Jam3
Tomasz is a visual artist, animator,
developer and technologist. A creative
coding master, he created an in-browser
tool to customise and live preview a
WebGL playground where creatives are
able to upload models, configure physics
and layer effects to save JSON data
useddirectly in production.
The final branded result, which connected users to the music festival using an interactive video player
Conclusion
The client was pleased and we were extremely satisfied
with our work, so all round it was a pretty awesome job.
We exceeded all expectations, especially considering the
short timeline for the project.
The themes and designs we created were so unique
that it really kept the experience fresh and interesting.
The tool we built for the project enabled changes
to occur throughout, so the experience would feel
completely different every half hour.
Lessons
learned
Senior developer Tomasz
Dysinski shares what he
took from the project
Think on an
abstractlevel
When dealing with dynamic visualisation,
dont waste time designing in Photoshop,
as compositions might not translate to a
code environment. Think on an abstract
level and develop tools which allow
designers to design within code.
Mix creative
andfront end
Include the artists early, and build
tools that put as little space between
creative and front end as possible.
Artists seeing their work in context
enables them to catch mistakes early
on, at the design stage.
computerarts.creativeb loq.com
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PROJECTS
March 2014
Il l u s t r at or c c t o ol t ip s
Jo Gulliver
Art editor,
Computer Arts
Jo is Computer Arts art editor.
When shes not designing the print
and (award-winning) digital editions
of the mag, she spends her time
tracking down and commissioning
work from top illustrators and art
directing photoshoots with the
biggest names in design.
1 First, find it
3 Scaling
5 Selecting characters
6 On a path
Finally, you can use the Touch Type tool with type
ona path. Draw a path with the Pen tool and add
your text to it using the Type on a Path tool found
under the Type tool in the Tools panel. To refine
thelook of the type, open the type on the Path
Options panel found under Type>Type on a
Path>Type on a Path Options. Here you will find
anumber of different effects options and
positionsfor aligning your text.
NEXT MONTH
better
selfpromo
for less
SPECIAL REPORT
ON SALE 7 MAR
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N e ed t o k n ow
need to know
march 2014
Do you really
need a Mac Pro?
Kicking off a new series on key hardware, software and other tech
for creative professionals, we explorewhether Apples recently
released flagship machine is worth its eye-watering price tag
s 2013 drew to a close, our
sistertitle MacFormat got a
much-anticipated delivery: that
brooding Vader-like cylinder that piqued
the worlds interest back in October. The
Mac Pro is unquestionably a beautiful
machine, but the blow to the wallet
would make any creative professional
think twice. So putting the alluring black
shell to one side for a moment, the
question is: does your studio really
needthat much horsepower?
Put simply, if you dont work in 4K
video or high-end 3D, youll struggle
to make it break a sweat. Within that
diminutive cylinder you get a multi-core
processor and dual graphics cards as
standard, neatly arranged around a
central core that sucks out heat with
the utmost efficiency. The good news
for those of you who maintain compact,
minimalist studios is that all this comes
in a 25x17cm package, which operates
almost silently.
computerarts.creativeb loq.com
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Mac Pro
march 2014
In a twist of genius,
the Mac Pros superfast components are
arranged in a circle
around a central
cooling chamber.
Despite resembling a
jet engine, it operates
almost silently
Your perfect
Mac Pro
If youve made up your mind and
haveyour credit card primed and
ready, heres how to assemble the
idealmachine for your needs
CR E AT I V E I N S P I R AT I ONS
MARCH 2014
Angelo Stitz
Based in Germany, Angelo specialises in drawing and developing custom typefaces, designing books, logos and wordmarks.
He has worked for FontFont and Gestalten Verlag, among others. www.metatype.de
computerarts.creativeb loq.com
- 98 -
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