CR Placement Survey

We’re conducting a major survey on the placement system within design studios and advertising agencies and we need your help. Please let us know how you organise internships at your company

In March 2004 CR conducted a survey into placements at design studios and advertising agencies. We wanted to provide a useful guide to anyone looking for a placement as well as to create a resource for both applicants seeking placements and companies providing them.

Our March 2004 cover, designed by Browns intern Mark Errington


We’re revisiting that topic for a future issue and would like your help in compiling an updated placement guide. Please answer the following questions in the comments section below.

We will compile the results for a future issue of CR and in order to create an online Placement Guide.

 

1. Company name

2. Do you take placement students?

3. How many each year and at what times?

4. In the past year, which colleges have placement students come from?

5. How long do placements last?

6. Do you pay placement students? How much?

7. How are they organised? (Is there a formal programme or is it ad hoc? Are they assigned specific tasks? Are they assigned a mentor? Is there a review process at the end of their stay?)

8. Describe what a placement student would typically be asked to do.

9. What information should be included when applying for a placement with you?

10. Who is in charge of placements? Please include contact email. (If you are worried about being bombarded with CVs, please leave this blank for now and we will contact you again before publication)

 

 

There are a lot of wider issues regarding the placement system which we would also like readers’ opinions on. They will be dealt with in a separate upcoming post.

Many thanks for your help

 

 

CR in Print

Thanks for reading the CR website, but if you are not also getting the printed magazine, we think you’re missing out. This month’s issue has a superb feature on the Sainsbury’s Own Label packaging of the 60s and 70s, a profile of new Japanese creative supergroup Party and our pick of this year’s top graduates. Read all about it here.

If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

 

Drink your milk! in Sweden


When the top image arrived as a thumbnail in my inbox, I though it was a digital illustration. On closer inspection, the entire scene has been constructed and stitched in 3D! Jakob Westman, an art director for the Swedish ad agency Kärnhuset sent me a detailed description to share with UPPERCASE readers:

MONSTERS IN SCHOOL

This August a new set of milkbar posters will be released by (Swedish dairy company) Arla featuring characters from British Felt Mistress (Louise Evans & Jonathan Edwards).

Jakob Westman, Art Director at Swedish ad agency Kärnhuset says:
“I’ve known about Jonathan and Louise’s work for a few years and have always been on the lookout for an excuse good enough to get to work with them. And the Arla poster series seemed like the perfect match! I’m a big fan of illustration, and that’s how we approached this. Or like illustration deluxe. There’s been a healthy interest in crafts and textures in graphic design and illustration the last few years, and a big boom in retro-photography with apps like Hipstamatic and Camera+. We wanted a surreal (non-retro) look and we were very keen on having the handmade look come through.

I get such a kick from seeing the textures and the wires, to see that it’s NOT 3d-generated, and that there are a bunch of imperfections in there. I also get a kick from the scale of it, that we were able to work with actual props. The candles on the cake are actually burning, the balloons on the ground are real and the clasps on the farmer’s dungarees are actual full-scale clasps. That’s something you don’t get with CGI or traditional illustration and it brings a whole other level to the final poster and makes it so much fun to look at.”

The posters are displayed on milk dispensers (milkbars) in Swedish schools and lunch restaurants. Since the posters are on display for 4–6 months one of the requirements have been to come up with designs that lend themselves to new discoveries on the nth viewing. This was also the reason that Kärnhuset turned to German eBoy and their sprawling cityscapes for the first sets of posters, followed by fun and elaborate illustrations from British TADO.

The project with Felt Mistress started with a brief from the agency with a description of what they thought could take place in the two posters. They also pushed for the characters to not be too cute or cartoony, but to be more monster-ish in their appearance. Something Felt Mistress was more than happy to comply with. The agency also requested a very trippy and non-literal color-scheme.

After discussing with Louise how the characters should look Jonathan then made a first round of sketches which were approved after a few very minor tweaks. “Yeah, it worked out really well.” He says. “We tried to push the weird colors and make the characters a bit out there. Something that comes pretty natural for us [chuckle]. This is also the first time the felt characters have been used as illustration and not as expensive toys in a hipster flat or office. I’ve always thought of what we’re doing as illustration. That they’d be able to tell stories in editorial or advertising contexts.”

Once the illustrations were approved by the client, Louise cut patterns, picked out fabrics and started stitching it all together. “The cow took some thinking to work out.” Louise says. “They wanted her to look good both on her feet and sitting down. And Jonathan had cheated a bit and not thought about the mechanics. Fortunately we were able to make a setup with a hook that allowed for the cow’s head to be re-arranged. Also it’s always important to me when making clothed characters, like the farmer, to use actual clothing fabrics rather than felt – I used denim and checked cotton for the farmer’s dungarees and a shirt with real buttons and fastenings. I think it’s details like this that really bring a character to life.”

The finished characters (11 in total) were then shipped to Stockholm where the whole set – including flat cut-outs of clouds, trees and buildings – was built up and photographed by Daniel Lundkvist.

“It was also great to see what the photography was able to add” says Jakob. “The photos I’d seen previously of Felt Mistress’ characters had been more documentary and I think we were able to make them a bit surreal and trippy while still having the handmade qualities show. It’s been really rewarding to see how everyone involved have taken something already great and made it even better!”

CREATIVE TEAM:
Client: Arla Foods
Agency: Kärnhuset
Art Director: Jakob Westman
Illustrator: Jonathan Edwards
Character design and construction: Felt Mistress (Louise Evans and Jonathan Edwards)

Core77 Design Award 2011: Scanwood, Runner-Up for Packaging

core77_design_awards_logo-BANNER.jpg

Over the next months we will be highlighting award-winning projects and ideas from this year’s Core77 Design Awards! For full details on the project, jury commenting and more information about the awards program, go to Core77DesignAwards.com

Scanwood_1.jpg

Goodmorning_Technology_Team_revised.jpgDesigner: Goodmorning Technology Team
Location: Copenhagen, Denmark
Category: Packaging
Award: Runner-Up



Scanwood

Package design for sustainable kitchen utensils that tells the branded story and creates a broad appeal in global retail markets.

Making wood look good.
Scanwood wished to communicate the fact that their products; olivewood kitchen utensils are made through an environmentally friendly process and are of course also made from all natural materials. So, how to do this in a commercial and appealing fashion suited for global retail markeds?

Read on for full details on the project and jury comments.

Scanwood_2.jpg

(more…)


DIY – Ankle Cuffs

imageThis week’s do it yourself project is inspired by some heavy metal goodness from the fashion house of Lanvin. We recreated their haute metal ankle sandals all for under $20.00! Metal just got better with these sleek, silver ankle cuffs. So update your old school ankle bracelets just in time for school to start.You’ll be in the winners circle come your gladiator game day!


What you’ll Need:
2 metal cuffs – We bought ours for a whopping 2 bucks a pop at Michael’s Art Supply.
2 yards of leather rope
Simple black sandals
Duck tape
Scissors


Step 1 – Cut 4 pieces of leather rope, each measuring 1 1/2 ft long.


Step 2 – Cut 4 pieces of duck tape in a 1x 2 inch square


Step 3 – Tape each piece of leather inside the cuff so that it’s not visible when being worn


Step 4 – To rock these new metal ankle cuffs just put them on after your shoes, wrap around your ankle twice and tie!

Pen Pal by Oscar Diaz for Doiy

Pen Pal by Oscar Diaz for Doiy

London designer Oscar Diaz has redesigned the pen pot so there’s no need to tip pens all over the desk or jam your fingers down the side to retrieve a paper clip or pencil sharpener that’s slipped to the bottom.

Pen Pal by Oscar Diaz for Doiy

The silicone Pen Pal has teeth round the edge to hold pens upright while a shallow dish in the centre contains smaller items.

Pen Pal by Oscar Diaz for Doiy

Diaz will present the product for Spanish company Doiy as part of an exhibition called Barcelona Design meets London at The Vyner Studio during the London Design Festival next month.

Pen Pal by Oscar Diaz for Doiy

Diaz first appeared on Dezeen in 2009 with his Ink Calendar that uses the capillary action of ink spreading across paper to display the date. See all our stories about his work here.

Pen Pal by Oscar Diaz for Doiy

Check out more stories about stationery here.

Pen Pal by Oscar Diaz for Doiy

The information below is from Oscar Diaz:


Pen Pal by Oscar Diaz

Pen pal is a simple pen stand made of silicone. Observing pen holders and improvised pen pots I realised that many small objects are difficult to access when they are mixed with pens of different sizes.

Usually the smaller items fall into to the bottom, which makes them unreachable and they end up taking much of the available space.

Pen Pal proposes to have fewer pens, but have all of them accessible. The central can hold clips; pins and other small objects while the conical holes allow placing pens of different diameters all around the cavity.

It keeps everything accessible avoiding having to turn your pen pot upside down to find a clip.

Produced by: Doiy
Product name: Pen Pal
Year: 2011
Materials: Silicone
Dimensions: 31 x 96 mm diam.

“Barcelona Design meets London” at The Vyner Studio.

Designers: Oscar Díaz, Tomás Alonso, Aloy Mas, Causas Externas, Out of Stock and GR
Organized by: GR Industrial Design, The Vyner Studio, BCD (Barcelona Centre de Disseny)
Sponsoring: Estrella Damn, Viña Zorzal


See also:

.

REC & PLAY by Yuri Suzuki
and Oscar Diaz
Ink Calendar
by Oscar Diaz
Found by
Oscar Diaz

Last chance to Learn Something Every Day

As a final swansong for its two year old daily illustrated fact blog – Learn Something Every Day – creative agency Young has commissioned an illustrator a day this month to illustrate a bizarre, little known fact such as the one above (by Serge Seidlitz). Contributors include Al Heighton, Marion Deuchars, Andy Rementer, Matthew Hodson, Jon Boam, and Siggie Eggertsson

Learn Something Every Day has run since August 2009, when Young’s founders Pete Jarvis and Geth Vaughan, began posting up a doodle each day illustrating a lesser known fact about something or other. Within two weeks of of it’s inception the site was recording 10,000 unique hits a day and May this year saw the release of a Lean Something Every Day book (published by Penguin) compiling dozens of the illustrated facts. Here are some of our favourite posts from this, the last month of the blog’s existence:


by Siggie Eggertsson


by Nicolas Tual


by Ryan Cox


by Andrew Rae


by Jon Boam

 


by Marion Deuchars

To see all of this month’s illustrated facts (and the last two years worth of facts illustrated by Jarvis and Vaughan), visit learnsomethingeveryday.co.uk

More Details Emerge on Director Steven Soderbergh’s Plans to Leave Filmmaking, Enter Painting

Both the film and art worlds were once again abuzz early this week with more information on director Steven Soderbergh‘s planned transition from filmmaker to painter, quitting the former entirely to concentrate on the latter. The whole concept was kicked into high gear this past March, when the director made the rounds saying he was planning on retiring at 50, even dropping by Studio 360 to chat with Kurt Andersen about it. Now, with his latest film, the thriller Contagion about to be released, Soderbergh once again made quick mention of his departure again while speaking with the NY Times, offering a few more specifics on what he has planned for his second act (and how he might turn back around should it all not work out):

Mr. Soderbergh was speaking last month in his office space-cum-painting studio in the Flatiron district of Manhattan, where, having announced his imminent retirement from directing, he will soon be spending a lot more time. Propped against the walls are some of his recent pieces: a pair of striped canvases in red and gray hues and a portrait of the abstract painter Agnes Martin. Mr. Soderbergh, 48, sounded matter-of-fact about the career change. “I’m interested in exploring another art form while I have the time and ability to do so,” he said. “I’ll be the first person to say if I can’t be any good at it and run out of money I’ll be back making another ‘Ocean’s’ movie.”

And here’s that aforementioned interview on Studio 360:

New Career Opportunities Daily: The best jobs in media.

Yountville Community Centre by Siegel & Strain Architects

Yountville Community Centre by Siegel and Strain Architects

Fir trusses create triangles that meet in the middle of the ceiling at a community hall in California designed by Siegel & Strain Architects.

Yountville Community Centre by Siegel and Strain Architects

A grid of tension cables supports the structural trusses, while slatted pine panels fill the spaces between them.

Yountville Community Centre by Siegel and Strain Architects

A central skylight runs along the length of the ceiling to provide natural light.

Yountville Community Centre by Siegel and Strain Architects

The 25 metre-long hall has large wooden doors resembling those of a barn.

Yountville Community Centre by Siegel and Strain Architects

The hall was completed by the architects in 2009, as were a library, youth centre and meeting rooms contained within the same building.

Yountville Community Centre by Siegel and Strain Architects

Other popular multi-purpose halls featured on Dezeen this year include one with an arched steel shell and another with a facade of shutters.

Yountville Community Centre by Siegel and Strain Architects

Photography is by David Wakely.

Here’s a more detailed description from the architects:


Yountville Community Center

For decades, the residents of Yountville, California, a rural town in Napa County, relied on a small 1920s-era community hall and a hodgepodge of rented spaces to host community events. The hall was in need of renovation, ill-equipped to support art classes and lacking in outdoor recreation spaces. In addition, the town had outgrown its library. In 1998, after surveying residents’ needs, the municipality embarked on a planning process for an expanded town center at the heart of town.

The Yountville Town Center opened in November 2009, weaving new and existing buildings and outdoor rooms into a place designed to enrich community life. Designed by Siegel & Strain Architects and located on a 2.5-acre site on Yountville’s main street, the town center consists of a new 10,000-square-foot community center, the renovated 4,800-square-foot community hall, and the addition of a sheriff’s substation to the adjacent post office. The new community center houses a branch library, multipurpose room, teen center, and meeting and program spaces. It opens onto a new town square framed by the existing community hall and the post office.

Yountville Community Centre by Siegel and Strain Architects

Building exteriors blend with the rural character, while inside the spaces are light and airy. The large multipurpose room, 80 feet by 50 feet, is day-lit along the roof’s spine by a ridge skylight, which has splayed walls that soften the light as it enters the room. A unique combination of Douglas fir trusses and cables enables the roof’s structural support system to have a minimal presence in the room and avoids blocking daylight from above. A large, covered porch of red cedar on two sides of the town square connects the community hall and community center, providing shade in the summer. Barn doors extend the multipurpose room onto the adjacent barbecue patio.

Targeted to achieve a LEED Platinum rating from the U.S. Green Building Council and to achieve energy savings of 44% over Title 24, the design integrates a range of green features. Walkways and bike paths connect the center to surrounding neighborhoods and main street activities. Exterior sunshades, a highly insulated building envelope, and “cool” standing seam metal roofs reduce energy use.

Energy-efficient mechanical systems are integrated with ground-source heat pumps for heating and cooling. A building integrated management system takes advantage of the temperate climate by opening skylights and windows on days with mild temperatures. Operable skylights, controlled by CO2 and rain sensors, and operable windows provide natural ventilation and balanced natural illumination.

Roof-mounted photovoltaic laminates on the new and existing buildings supply energy. Water-conserving plumbing fixtures, harvested rainwater, drip irrigation, subsurface irrigation, and drought-tolerant native plants further reduce water use. The existing parking lot was regraded to slope naturally so that rainwater could be harvested in a bioswale. Overall, site design reduces storm runoff by 40% over preconstruction conditions.
Building materials were selected to minimize life-cycle impacts and provide light and airy interiors free of formaldehyde and volatile organic compounds. Buildings feature durable, recycled content cement-fiber shingles and metal roofs. The new building’s red cedar cladding and Alaskan yellow cedar sunscreens and entrances are regionally harvested. Slatted wood ceilings are locally sourced white pine, and the existing community hall’s oak floor was reused. Over 75% of the wood is certified by the Forest Stewardship Council.

Yountville Community Centre by Siegel and Strain Architects

Sustainability may not have been stated as part of the original vision, but the desire to incorporate green design grew over time as the project developed, championed by both civic leaders and the community. Now Yountville has a new “front porch,” bringing together residents of all ages while blending an agrarian vernacular with time-honored sustainable practices.

Architect: Siegel & Strain Architects
Location: Yountville, VA
Client: Town of Yountville
Date of occupancy: December 2009
Gross square footage: 20,000
Construction cost: $9.8M
Contractor: Swank Construction

Structural Engineer: Endres Ware Architects Engineers
Mechanical/Electrical/Plumbing: Timmons Design Engineers
Civil Engineer: Coastland Civil Engineering
Landscape Architect: John Northmore Roberts & Associates
Lighting: Alice Prussin Lighting Design
Commissioning: Enovity Inc.
Specifications: Topflight Specs
Construction Manager: Pound Management


See also:

.

Milson Island Sports Hall
by Allen Jack+Cottier
Sports Hall by Franz
Architekten & Atelier Mauch
Community centre by MARP
and Dévényi és Társa

Rufus – We Left

Voici le nouveau clip officiel pour le groupe australien Rufus, à l’occasion de la sortie de l’EP ‘We Left” signé chez On The Fruit Records. Un très bel effet video alliant typographie et un condensé d’images. Le tout a été produit par Monekeleon, sur une réalisation de Alexander George.



rufus2

rufus3

Previously on Fubiz

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Angela Brady becomes RIBA President


Dezeen Wire:
Angela Brady will take over from Ruth Reed as president of the Royal Institute of British Architects tomorrow. Brady was elected in July 2010, as reported in Dezeen Wire last year.

Angela Brady becomes RIBA President

Angela Brady will become President of the Royal Institute of British Architects (RIBA), the UK body for architecture and the architectural profession tomorrow (1 September 2011). Angela takes over the two-year elected presidency from Ruth Reed.

Angela is the 74th RIBA President, a position previously held by Sir G. Gilbert Scott and Sir Basil Spence among others; she is the second woman President.

Angela Brady is director of Brady Mallalieu Architects, an award-winning architecture practice specialising in contemporary sustainable design. She holds a number of significant posts including Ambassador for the Government Equality Office, advisor to the British Council, visiting critic and external examiner for a number of UK and Irish universities, and enabler for the Commission for Architecture and the Built Environment (CABE). Angela has previously served as a member of influential panels including the CABE English Heritage urban panel; as Design Champion for the London Development Agency Board and as Vice-Chair of the Civic Trust Awards.

Angela Brady, RIBA President said:

“I am delighted and honoured to become RIBA President; and to represent an extremely talented and resourceful profession whose work benefits the whole of society. Architecture and the spaces around us have a profound affect on the way we feel and act and how we develop as individuals and as a community. During my term in office I intend to work to increase the understanding that the public and politicians have about the value that well designed buildings bring to peoples lives, and to help bring about the necessary political and education changes to enable the delivery of the best possible built environments.

“The economic collapse of recent years has been tumultuous for the whole construction industry, with many architects, amongst so many others, facing under-employment and cancelled projects. As part of our recovery from this situation, the construction industry must work even more collaboratively in order to cut waste and produce better affordable sustainable buildings. The Government can support us by ensuring short-term cost-saving decisions are not taken to the detriment of our longer-term health, education and prosperity.

“I am particularly delighted to be in office during 2012 – a time when we will be showcasing some of the very best of British architecture and design talent on a world stage at the London Olympics. As former design champion for the London Development Agency BOARD and daughter of a past Olympic competitor (my Dad competed in 1968 and 1972), I will be honoured to be RIBA President at this time and proud that the UK is delivering fantastic sustainable regeneration that will benefit our country during the Games and for many years to come.”

Dezeenwire

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