StartUp cock-up

 

UPDATE: Thanks to the weight and nature of comments on here and on Twitter, Oli Barrett of StartUp Britain got in touch yesterday. 99 Designs has now been removed from the Top Tips list on the site and replaced with a link to the Design Business Association at our suggestion. There is still a link to it elsewhere on the site however. Barrett expressed his regret over the prominence given to 99 Designs and said that StartUp Britain will ‘endeavour to find great British talent wherever we can’.

StartUp Britain is a government-endorsed initiative “to make it easier for new companies and innovations to flourish and encourage people who aspire to start new businesses to work for themselves”. As long, it seems, as that business is not graphic design

StartUp Britain is backed by a number of entrepreneurs. The homepage features David Cameron wearing his most ‘visionary’ expression. It is, the site promises, “helping Britain’s future entrepreneurial talent by providing links to the web’s best business resources, along with offers from some of the biggest brands in the country”.

Below that initial promise is a list of four Top Tips to start you on your way. Number four is Create a Logo. And where does it link through to? Perhaps to a list of well-chosen UK design studios in various locations who could all benefit from the work? Nope, it goes to 99designs.com, the US crowdsourcing site where designers compete to knock out logos for ‘from just $295’.

Thanks Dave. So, rather than backing the design sector that your government so frequently claims to support, your big initiative to encourage hundreds of new businesses funnels commissions to an American website that systematically undermines the values of the very industry you claim to find so important.

Thanks to Jeff Knowles and various other people via Twitter for the tip-off.

CR in print

Thanks for reading the CR Blog, but if you’re not reading us in print too, you’re missing out on a richer, deeper view of your world. Our April issue features our Top 20 logos of all time. You can buy it today by calling +44(0)207 292 3703. Better yet, subscribe to CR, save yourself almost a third and get Monograph for free plus a host of special deals from the CR Shop. Go on, treat yourself.

The Art of the March

by Sean Hicks

Over a quarter of a million Britons took to the streets of London this weekend to march against the coalition government cuts. As well as expressing anger, they also showed off their art direction and copywriting skills – here’s a round-up of some of the best placards we spotted on the day…

by Danny Birchall

by Emerson Povey

by Emerson Povey

by szczel


by xerode

by Sarah Honeysett

by Duncan


by Emerson Povey

by Leticia Tootington


by Sean Hicks


by Tamsin Chapman

by The Right Hand Unit

by Angela Pease-Watkin

by Sean Hicks

CR in print

Thanks for reading the CR Blog, but if you’re not reading us in print too, you’re missing out on a richer, deeper view of your world. Our April issue features our Top 20 logos of all time. You can buy it today by calling +44(0)207 292 3703. Better yet, subscribe to CR, save yourself almost a third and get Monograph for free plus a host of special deals from the CR Shop. Go on, treat yourself.

WSC Badge of the Week

Every Friday, ‘half-decent’ football magazine When Saturday Comes sends out its Weekly Howl email. Each one contains a detailed history of the badge design of an obscure football club.

The critiques are written by Cameron Carter. Here are a few recent favourites.

Sheikh Russel, Bangladesh
“A beautiful, lyrical badge. The story behind the image is as follows: Russel, a Bangladeshi boy of lowly stock, is given by his parents (father is a woodsman, mother a soap sculptor) a name so tedious it marginalises him in village society. One day, as he is wandering around the alluvial plan that makes up a large part of Bangladesh’s surface area, he spies a beautiful dove struggling to free itself from some plastic packaging, a by-product of the Coca-Cola corporation’s global imperialism. The dove is tired and is about to give up the struggle. Little Russel is powerless to help it (Russel has a condition called Learned Helplessness – he doesn’t problem-solve) and weeps over the dove’s snow-white drooping neck. One of the boy’s tears falls on the wound, pooling with ruby-red blood, and lies there like a pearl. Slowly the dove opens an eye, life returns to its broken body and, marvellous to see, it is able to raise itself into the limitless sky.


From that day hence the little village was smiled upon by the gods, its harvests were plentiful and its river never ran dry. Also it got a leisure centre that was opened by Jimi Mistry. For his part in this, Russel was feted in the area and loved and protected by all. He was named Dove Boy. After that he went into tertiary education – some say he got a City & Guilds in Retail & Distribution – and then he got a job and the village sort of lost touch with him.”

 

Skenderbeu Korce, Albania
“What kind of man – or woman, for that matter – takes on a commission to design a football team’s badge, goes away for a few days to his Imagineering room and emerges with an image of a creature half rabbit, half round-topped winter bonnet? Following extensive investigation there still appears to be no culture that will admit to including such an entity in its mythology. There are stories told in the rural north of Albania of a creature half-goat, half Alpine Homburg that inhabits dense forest and forewarns those it encounters of a death in the family or, at the very least, a work-based appraisal. But this is the closest our research gets us to the Skenderbeu icon.

From its expression it doesn’t appear to be a terrorising kind of figure, it just appears to be cheerfully off-balance in a strong wind. So it is not obvious what the club are attempting to get across here, unless they are giving us a glimpse of an alternate reality inhabited by mild-mannered grotesques. An absolute enigma.

Espérance Sportive de Tunis, Tunisia

“Now, this badge displays the kind of citizen that former Tunisian president Zine al-Abidine Ben Ali presumably believed lived in his country. A cheery, placid young fellow, with no more thought of political dissent in his curly-mopped head than a badger might contemplate taking a taxi to the next field. Eager to Please is written all over his youthful face as he looks up towards his political leaders (out of picture), awaiting his next instruction. Unfortunately, after years of zero tolerance for any kind of oppositional protest or criticism of his regime, Ben Ali has found that there are among his population people with sterner countenances and less wavy hair who wish to be employed and also be permitted a little more freedom of expression.

This element, who likely do not dress in as colourful clothes as the pictured boy, has taken the country by surprise by marching around in large numbers and being rather uncivil. Some of them even went so far as to provoke their police into shooting them, simply by swarming around the place looking menacing. Perhaps, right now in a lonely hotel room, Ben Ali is wondering what became of the little stripy-topped smiley boy – at what point did he drop the plastic football and pick up a rock?”

 

Kecskeméti TE, Hungary
“I suppose this was considered very modern at the time. I suppose it is a very clever thing to have a badge with just shapes on it when you know everyone wants to see a tiger with a sword and a castle. The light arched shape across the top is symmetrical enough but just as we begin to relax and think we can show this design to mother, we come upon the violent shard of glass that is the lower light shape. And why place the year of the club’s founding on the level when you can just as easily make it lean at a 45-degree angle and disorientate the common herd? This daringly unnecessary innovation recalls the poet Baudelaire’s lines: “See the dead Years lean down, In dated dress, from balconies in heaven; Behold Regret rise from the deep, unbowed…” I forget the rest but it was probably about catching syphilis off a prostitute so this is almost certainly the cleanest bit anyway. So yes, very fresh at the time, one imagines, very shocking (it is reported by a contemporary critic that some ladies in Austro-Hungarian football stadiums screamed and fainted when first exposed to the badge) but ultimately, when the moment has passed and we have all calmed down, a little bit dull.”


FCM Targu Mures, Romania
“Last week’s badge was all about lines. No pictures, just lines. It was utterly shocking. This week’s badge is at the other end of the design spectrum. Targu Mures hope to intimidate the opposition with this image of an armed bear. In the olden days – that is pre-Premier League – errant knights would roam the hills and valleys of Romania, either seeking adventure and remuneration from the local landowner or, in some cases, preying on the weak and infirm. It is often hard to spot the difference between the weak and the infirm, but, as a rule of thumb, it is the infirm who are wandering about late at night dressed only in a car coat.

It soon became apparent that some of these opportunist knights were bears. This was bad news for the frightened Romanian villagers. Meeting a bear in the wild was bad enough, but they at least knew they could ward it off by fiddling with polystyrene or imitating the vocal inflections of Heather Small. But an armed bear – this would have been hard to prepare against. It was probably not the best time to be a Romanian villager. The bear in the picture is just about to hack down the halogen spotlights simply because he doesn’t understand them.”


Spielvereinigung Unterhaching
“This team is probably the German equivalent of Hamilton Academicals, the name being an absolute joy to enunciate when asked which team one follows: “Which team do I support you ask? Well, let me see now – stand well back everyone, mind those champagne flutes…” The badge itself is similarly enjoyable and has a rather jolly air about it. It seems that four friends are attending a funfair and, having perhaps drunk heavily, are now piled into a dodgem car, seeking kicks. Normally the tousle-haired ruffian who runs the dodgems would rebuke the party for health and safety reasons, but it appears he has given them the benefit of the doubt here because there are four of them and there is a military flavour to their singing. We all know there is a dark side to pleasure, as anyone would discover if they attempted to prevent these hearties having their fun. As for the message the club intend to convey, it is possibly just that they like going to the fair. Or there may be a deeper meaning here, one of solidarity – Togetherness Through Drink (which was also the old Arsenal motto when Tony Adams was captain).”

 

Pattaya United FC, Thailand
“I know what you’re thinking – another bleeding cetacean. We had a mostly-out-of-shot whale three weeks ago, the badge designer having opted for the daringly elliptical approach of depicting merely the departing tail and splash of his subject. Here, however, we have the subject centre stage, in full crowd-pleasing action pose. This is precisely the type of dolphin you would expect to see in any Ocean World Fun Park, balancing balls on its head, jumping through hoops and tottering along the surface for fish. This is a corporate, on-message cetacean. An Uncle Tom dolphin, posing for the camera in such a way as to perpetuate centuries of received wisdom of his kind as non-threatening human sidekick and anti-depressant aqua-buddy. This view of the dolphin is a relatively modern one, originating, it is widely thought, in a Victorian text by the Reverend AK Minton, Some Brief Notes on the Relative Approachability of Dolphins and Tiger Sharks. The Ancient Greeks believed dolphins were arseholes.”

Sign up for the Weekly Howl here

 

CR in print

Thanks for reading the CR Blog, but if you’re not reading us in print too, you’re missing out on a richer, deeper view of your world. Our April issue features our Top 20 logos of all time. You can buy it today by calling +44(0)207 292 3703. Better yet, subscribe to CR, save yourself almost a third and get Monograph for free plus a host of special deals from the CR Shop. Go on, treat yourself.

Designers for Japan

Designers for Japan prints for sale from Simon Taylor (left) and Graham Wood (right)

Designers for Japan is a collective of designers, photographers, art directors and imagemakers from around the world. Its aims are to offer support to peers, colleagues and friends in Japan, aid disaster relief and to act as a forum for anyone wishing to look at how visual communications can help in future disasters, wherever they may be

As soon as the terrible events of March 11 became known, there was a great urge to help among designers and imagemakers, many of whom have strong links to Japan. But how?

The website Designers for Japan was set up to focus that effort and, hopefully, to help create models for future responses to humanitarian crises by this community. It has three main aims: fundraising, long-term support and to drive practical ways in which visual communications can help both in Japan and in future crises.

First, fundraising. An auction of design and art-related items is planned for the near future. In the meantime, the dozens of imagemakers and designers who have already offered helped have been asked to create a print which can be sold to raise money for the Red Cross and for ShelterBox, the charity that provides emergency relief kits.

Designers for Japan prints for sale from Genevieve Gauckler (left) and M/M (Paris) (right)

Contributors were asked to create an image that reflected their admiration for Japan and to express their feelings towards the country, its people and its creative community. The prints are on sale via Print-Process at £30 for A2 or £60 for A1. All proceeds after print, paper, production and postage will be split between the two charities.

Buy here.

Designers for Japan prints for sale from Christopher Gray (left) and James Goggin (right)

Creative Review has leaned organisational support to the project and a selection of the prints will be featured in our May Monograph booklet. If you would like to contribute a print, please email info@designersforjapan.com

Maharishi Designers for Japan print

As well as fundraising, Designers for Japan hopes to promote practical means by which visual communications can aid in disaster relief, both in Japan and in any future crises. Currently, there is a desperate need for food, shelter, water and information. Our community can help with the latter.

Designers for Japan, which is supported by CR, will attempt to address these issues through contact with NGOs and organisations in Japan, discussion and, through that, the setting of briefs to both students and professionals, but more ideas are very much encouraged. Please email suggestions to info@designersforjapan.com

In addition, there is a daily letter from Tokyo on the site from designer Toru Yoshikawa, giving a street level view of the situation.

AKQA creative director Rei Inamoto recently joined the organisers of Designers for Japan: “For many victims who lost their homes and families, what’s really tough is not just behind them but ahead of them. The series of events – one alone is tragic enough, they had three – is unbelievably traumatic but the world is quickly moving on from it. It’s been only two weeks but the news has been replaced with other events (in some cases, rightfully so),” he says. “I’d like Designers for Japan to be an ongoing platform for many a designer around the world, long into the future.”

Please see designersforjapan.com. All contributions/help/advice welcome.

Designers for Japan prints for sale from Build, Hudson Powell and Blam. More here

Pick Me Up report

CR’s Gavin Lucas takes a tour around the Pick Me Up graphic arts fair and interviews some of the illustrators and designers whose work is on show

Film by Order

Pick Me Up is at Somerset House, London WC2 until March 27. There is a late night opening on Thursday 24th from 6pm-9pm, with music and live drawing from Heavy Pencil (with Jiggery Pokery, Jess Bonham, Chrissie Macdonald, Ben Fry, Andrew Rae, Jim Stoten and more)

 

CR in print

Thanks for reading the CR Blog, but if you’re not reading us in print too, you’re missing out on a richer, deeper view of your world. Our April issue features our Top 20 logos of all time. You can buy it today by calling +44(0)207 292 3703. Better yet, subscribe to CR, save yourself almost a third and get Monograph for free plus a host of special deals from the CR Shop. Go on, treat yourself.

CR for CR: thank you

Over past week we have been running a series of auctions to benefit Comic Relief. The last of those has now finished. Thank you to everyone who donated their money, time or stuff

First up, we sold 10 subscriptions to CR at £35 each (usual price £64) with all the money (after eBay fees) going to Comic Relief.

Then we had a rare James Jarvis World of Pain Policeman who went for £50, here.

Next, illustrator Paul Davis kindly agreed to draw a portrait of the highest bidder at his studio. It went for £310 here.

Then Blanka donated artist’s proofs of its two most popular items: Build’s Night and Day Moon prints. Night, here went for £205 and day, here for £122.

Blanka also donated an artist’s proof of its lovingly produced 2008 reprint of the classic Wim Crouwel Vormgevers poster, signed by Wim himself. It went (to Gary Hustwit of Helvetica the movie fame) for £330 here.

Our friends over at Monocle contributed a lovely A2, 4 colour poster with gold-foil detailing of an ecologically sustainable urban district, envisioned by Alejandro Gutierrez and illustrated by Satoshi Hashimoto. It went for £73 here.

The biggest winning bid, however, went on Tom Gauld‘s artist’s proof of his popular Characters for an Epic Tale print. It went for a whopping £670 here.

Moving away from posters and prints, director Dougal Wilson donated an original puppet from his Grammy-nominated promo film for Coldplay’s Life in Technicolour II. It made £360 here.

Nintendo sent us a special edition DSi, complete with Pokémon Black game, which was a bargain at £102 here, while a Depeche Mode deluxe box set of Sounds of the Universe here made £46.

More prints: three rare and tasty-looking A3 digital prints by graphic artist Rob Flowers, with never-to-be-repeated packaging went here for £77 and a James Jarvis Sole Inspector print, donated by footwear connoisseurs Art & Sole went here for £87.

We also had bundles of fantastic books from Laurence King and Picador. The Laurence King ones, here, made £122 and the Picador ones here earned £88.

For fashion lovers, artist and designer Petra Börner donated two signed pieces of original artwork: clown here made £28, cocoa beans here £77.

Plus, some of the peeps at Peepshow donated nice things too. A Space Cowboy print by Spencer Wilson, here made £77.67. Chrissie Macdonald‘s paper shredder made from paper image (shot by John Short) here, made £36. Andrew Rae‘s limited edition, signed Mob screenprint here, made £51 and Miles Donovan‘s similarly signed and limited edition Giclee print here made £35.

And then we had two more people offering to give up their time for charidee. For those without the cash to splash, we set up a prize draw for a young creative team to win a 30-minute crit with M&C Saatchi’s Executive Creative Director Graham Fink. To enter the draw, we charged £5 a pop on our JustGiving page. £170.50 plus £26.80 in Gift Aid was raised.

Finally, Adrian Shaughnessy offered an entire set of Unit Editions books plus half a day’s consultancy to help a design studio improve its business. He went for £715 here.

Total: £4208.97

Thank you to everyone who bid, everyone who bought and everyone who donated.

For What It’s Worth

For What It’s Worth aims to counter the cuts to arts funding by hosting a series of pop-up fund-raising exhibitions in vacant spaces. The scheme is the idea of Kingston student Alexander Harris who explains how it all works.

“For What It’s Worth is primarily aimed at artists, illustrators or designers but entries are welcome from everyone,” Harris explains. “Each entrant is given a brief which challenges them to create something that expresses the cultural value of a chosen artform with as little money as possible.”

The first exhibition opens on April 7 at 3-5 Whitechapel Road in London. Contributors are asked to bring their work along during the day. From 6-10pm there will be a private view and then the show is open to the public until April 10. Everything on show will be available to bid on during an on-going silent auction up until the highest bidding winner is revealed on the closing night.

“50% of all profits made from this auction will be given to the Art Fund charity,” Harris promises. “The other half will be kept exclusively for local art organisations that require financial support (proper research will be carried out following the event to decide how to allocate the money).”

“We currently have a DJ from Kane FM to perform on the opening night but are still interested in booking a band for the 10th. Unfortunately we are unable to pay anyone due to lack of money…” If you can help or would like to contribute artwork, please email Alex on forwhatitsworth.uk@live.co.uk

 

CR in print

Thanks for reading the CR Blog, but if you’re not reading us in print too, you’re missing out on a richer, deeper view of your world. Our April issue features our Top 20 logos of all time. You can buy it today by calling +44(0)207 292 3703. Better yet, subscribe to CR, save yourself almost a third and get Monograph for free plus a host of special deals from the CR Shop. Go on, treat yourself.

Rodrigo Corral Appointed Creative Director of Farrar, Straus and Giroux

This just in: star graphic designer Rodrigo Corral has been appointed creative director of
Farrar, Straus and Giroux (FSG), according to a statement issued today by president and publisher Jonathan Galassi. Corral is no stranger to FSG, having worked in the company’s art department from 1996 to 2000 after graduating from the School of Visual Arts. He begins in his new post early next month and will continue to run Rodrigo Corral Design, the nine-year-old studio behind such memorable book covers as those for James Frey‘s A Million Little Pieces, a shelf of Chuck Palahniuk novels, Debbie Millman‘s smashing How to Think Like a Great Graphic Designer, and Jay-Z‘s recent memoir-cum-lyrical codex, Decoded, for which Corral dispensed with the glamour shot and featured one of Andy Warhol‘s Rorschach paintings. “I read the books, look for meanings which help drive the stories but are not necessarily obvious, and I try to come up with an image that will illustrate a few of these ideas at once,” Corral has said of his cover design process. “The hope is that it will be beautiful or interesting enough for a reader to want to know more, and that they will feel more attached to the image, or maybe a part of it, as they read the book.”

New Career Opportunities Daily: The best jobs in media.

CR April: the logos issue

It’s here: our April issue features our Top 20 logos of all time. We’re not going to tell you who came where, but Alex Trochut‘s cover might give you a clue about what our number one might be

If you would like to buy this issue, simply call +44(0)207 292 3703. Issues cost £5.90 including P&P for the UK.

Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine. Online only subs are also available, for just £40.

For our April issue, we have chosen our Top 20 logos of all time, aided by our online reader polls here and on Brand New as well as the views of 20 experts in the field. We know you’ll disagree with a lot of our choices, but such debate is half the fun of doing these things. Even if you don’t agree with what we’ve picked, we think you will enjoy the features that accompany them.

Mark Sinclair has interviewed Gerry Barney, who drew the BR logo for DRU

 

And Patrick Burgoyne talks to Karl Duschek who worked on Deutsche Bank with Anton Stankowski in 1973.

 

Eliza Williams traces the history of Bibendum

 

While Gavin Lucas’s piece on the Woolmark logo is a particularly good read as he delves into the mystery of who actually designed the famous symbol.

 

Plus we have lots more stories, myth debunking, unseen sketches and great examples of our logos in use.

 

And if that’s not all, our April issue also has a great feature by Rick Poynor on Wim Crouwel that asks (on the eve of his big show at the Design Museum) why he is held in such high regard by British designers

Thanks also to Antalis McNaughton for the great cover stock this month, Rives Design Bright White 350gsm.

The April issue of CR is available from March 24.

If you would like to buy this issue, simply call +44(0)207 292 3703. Issues cost £5.90 including P&P for the UK.

Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine. Online only subs are also available, for just £40.

James Beard Foundation Announces Restaurant Design and Graphics Awards Nominees

james beard award.jpgHere at UnBeige, we’ve been known to select dining establishments based on their chairs and typefaces, so when the James Beard Foundation announces its annual slate of award nominees, we head straight for the design and graphics categories. The Oregon Culinary Institute was the setting for yesterday’s announcement of the 2011 contenders, selected by committees of industry professionals in each of the categories. Duking it out for the James Beard Award for outstanding restaurant design (for establishments designed or renovated since January 1, 2008) are a trio of left-coasters: Aidlin Darling Design for Bar Agricole in San Francisco, Bestor Architecture for Pitfire Pizza in Los Angeles, and Stanley Saitowitz (Natoma Architects) for Toast in Novato, California. The restaurant graphics category, which for the past two years has been dominated by Korn Design and Steven Solomon, makes way for some new faces, two of whom are New Yorkers named “Katie.” Katie Barcelona is nominated for New York’s L’Artusi, and Katie Tully of Love and War impressed with her whimsical work for Geoffrey Zakarian‘s The National Bar & Dining Rooms. The third contender in the graphics category is the designing duo of Donald Madia and Jason Pickelman of Chicago-based JNL Graphic Design, nominated once again for their work for The Publican. Winners of the 2011 James Beard Foundation Awards will be announced on May 9 at a Lincoln Center ceremony hoted by chefs Tom Colicchio, Ming Tsai, and Traci Des Jardins. Wear your fanciest clogs!

New Career Opportunities Daily: The best jobs in media.