Polite requests

When photographer Alan Powdrill checked into the Oxwich Camping Park in Gower, South Wales he found not just beautiful scenery but a treasure trove of vernacular graphics. Turns out the park is run by a retired signwriter who still enjoys practising his trade

Ex-signwriter Malcolm Crombie inherited the park and, says Powdrill, has spent the last 30 years decorating it with all manner of hand-made instructional signage – Powdrill reckons there must be about a hundred.

“By the looks of it you would think Malcolm was running an autocratic dictatorship down in Gower,” Powdrill says, “but in person he couldn’t be any nicer or laid back. Sadly he’s hung up his paint brush now, a real shame…..some might say.”

See more at Alan Powdrill’s site

 

Ken Block’s Gymkhana Four: The Hollywood Megamercial

Posted on YouTube on Tuesday, DC Shoes‘ latest short film showcasing their sponsored Gymkhana driver Ken Block has already clocked up over 3.5 million viewings. We thought we’d flag it up as there’s some rather nice action-film-referencing typography in it –  not to mention robotic sharks, deranged zombies, pyrotechnics, massive stunts and some pretty impressive driving skills…

For those of you that don’t know what Gymkhana is (we didn’t until an hour ago), it’s a motorsport where competitors vie for the fastest time around a usually complex course – but also perform different driving techniques from spins, figure 8s and, where possible or necessary, drifting. Nothing will explain it better than this nine minute film – shot by director Ben Conrad (who created the opening title sequences for Zombieland / 30 Seconds or Less) of motion design, TV and branding agency, Logan in Los Angeles.

At nine minutes, the film is probably a little longer than it needs to be, but as a promotional film for the motorsport Gymkhana, the skills of driver Ken Block, and a plug for DC Shoes, well, it’s not bad. The film-referencing typographic work in the opening sequence was created by designer Corey Holms who now works in house at Logan. Here are a few stills showing some of the frames from the opening sequence. Can you name all the films alluded to?

There’s a behind the scenes, making-of film (but of course) too. Find it here

Credits

Director Ben Conrad
Production co Logan
Executive producer Matt Marquis
Line producer Rick Brown
Concept director Ken Block
Editor Volkert Besseling
Cinematography Stephen Blackman
Creative director Nate Morley
Creative consultant Brian Scotto
Post producer Pierre Nobile
Title design Corey Holms
Sound design Keith Ruggiero
Post supervisor Vincent Wauters
Original music by Money Mark

 

Hapshash takes a trip back to London

Julie Felix at the Albert Hall silkscreen, April 1968, (shown left); The Soft Machine Turns On (right)

Artist Nigel Waymouth‘s mind expanding poster work of the 1960s is set to fill the Idea Generation Gallery in the retrospective, Hapshash Takes A Trip, in London next month

Waymouth formed the creative partnership, Hapshash and the Coloured Coat, with fellow designer Michael English and the studio went on to create some of the high points of British psychedelia in their work for events and concerts, in particular for the famous UFO Club in London.

5th Dimension silkscreen, 1967 (left); Save Earth Now silkscreen, 1967 (right)

The pair met in 1966 when both were involved in creating murals for shops. English was working on the shopfront of Hung On You, while Waymouth was creating the exterior art for his boutique Granny Takes A Trip, on London’s Kings Road, which he had opened with artists John Pearse and Sheila Cohen.

A year later Hapshash was formed.

The Who – I Can See for Miles, 1967

Joe Boyd, owner of the UFO Club, acknowledged the example being set in San Francisco where clubs and venues would commission artists to make posters for upcoming gigs; the screenprints were also frequently given away to audience members on the night.

The Move at the Marquee Club in London silkscreen

Many of the posters were designed to be largely illegible to those not prepared to stand and read them – thus the artists could get away with including explicit elements, subversive codes and messages.

This of course carried within it an implicit feature of the modern rock poster: if you can’t decipher it, it’s probably not for you.

Tomorrow: My White Bicycles silkscreen, 1967 (left); Crazy World of Arthur Brown silkscreen, 1967 (right)

The Idea Generation show, entitled Hapshash Takes A Trip, will incorporate several pieces from Waymouth’s own archives and, in addition to the Hapshash posters, will feature original acetates, drawings, album covers, photographs and mementos.

The exhibition opens on September 9 and runs until October 2 at the Idea Generation Gallery, 11 Chance Street, London E2 7JB. More at ideageneration.co.uk.

Red’s identity for Union

Union postcards for each featured jewellery designer

Brighton studio Red has just unveiled a new identity for Union, a contemporary jewellery store based in the city…

Shop signage at 2 Union Street, Brighton Laines

Working towards a design that evoked both the collections of classic costume and bridal jewellery available at Union, as well as its more contemporary pieces, the identity was created to be “elegant but also have some sense of fun,” say the designers.

Stationery and business cards

A Union receipt

“There was also a desire to reflect the dynamic and colourful nature of the products,” say Red, “and create something different to the visual language of run-of-the-mill jewellery stores.”

Jewellery boxes and bags

The logo marque is applied to a wide range of elements from shop signage to the hallmarks that appear on Union’s bespoke jewellery. A full website for Union will follow soon and Red are set to design further packaging for the store later this year.

More work by Red at red-design.co.uk.

The shop front on Brighton Laines

Music redraws Chester Zoo’s identity

Manchester-based Music has just completed the rebranding of Chester Zoo. The new brand identity centres on a bespoke handdrawn typeface and logotype, created in collaboration with illustrator Adam Hayes. Music also worked with copywriter Mike Reed to develop a distinctive and playful tone of voice for the brand…

This is Chester Zoo’s new logo, which exists in two forms, seen above and below

The new Chester Zoo type family contains four weights to increase flexibility of usage:

And, to maintain the illusion of brand literature being written by hand, there are a number of contextual alternates built in to the typeface…

There are also a number of alternate characters available in each weight of the Chester Zoo typeface which have suitably animal-themed decorations:

As befitting any rigorous branding programme, Music has created a colour palatte

And there are also a number of stand alone animal illustrations, all created by Hayes, that can be used as and where necessary – such as the new map of the Zoo:

“The new brand centres on a personality and voice rooted in the work of those who make Chester Zoo what it is, encompassing their passion, integrity and knowledge,” says Music’s Anthony Smith who worked on the project with Craig Oldham. “Add to this the license for creative expression in how the font works and is applied – and the zoo has the means ot make a powerful impact and really stand out in a competitive sector,” he continues, “by telling their story in a very natural and genuine way.”

Music has created a wide range of the zoo’s new marketing materials, as well as its site map and signage – plus the identity for The Act for Wildlife campaign that the zoo has also just launched (the homepage of actforwildlife.org.uk shown below). Music is now working with Chester Zoo on updating its website, incorporating the new look.

 

The cut and thrust of a new mark for fencing

Hoping to broaden the appeal of fencing in the run up to the Olympics, studio Shaw+Skerm has designed a great visual identity for a campaign to help promote the sport in the UK…

British Fencing approached the London studio to create a visual identity for Go/Fence, the organisation’s program that helps introduce people to the sport. It is hoped that the work can then be fully developed into a brand.

It’s a timely move. The Olympics will undoubtedly trigger interest in many minority sports and the Go/Fence initiative is naturally keen to capitalise on fencing’s increased exposure next year.

One of the aims of the new identity is to try and change the perception of the sport as an elitist activity and make it appealing to both younger participants and veterans alike. A difficult job – but we think the designers have pitched this one perfectly.

In an unfussy piece of design, which plays on the notion of the ‘slash’ as both a visual symbol and dynamic action, Shaw+Skerm has managed to capture the excitement of the sport but also move it away from its rather traditionalist image bound up in parries, thrusts and touchés. Here, it’s all about the angles with the ‘slash’ echoed in the typeface, even in the positioning of the text on a business card (shown, top).

“A core proposition – i/Fence, We/Fence, You/Fence, Go/Fence – enabled us to develop a brand which targets a wider audience through a consistently pro-active message,” say the designers. “The Go/Fence identity incorporates a modified slash; in reference to a sword which is featured in the logotype. This device has become central to the visual look and feel for the brand. A flexible, visual language that creates instant stand-out from it’s competitors.”

Following a soft launch last month, Shaw+Skerm has art directed a photoshoot and is continuing to design communications materials including event collateral, brochures (note the recurring ‘slash’ device), postcards, badges, certificates and apparel. They have also drawn up a set of brand guidelines (the identity also works really well in white out of black) which will be used by internal resources and affiliates, with a full launch due in September.

More of Shaw+Skerm’s work at shawandskerm.com.

New typeface: Bella from Face37

British designer Rick Banks of Face37 has just released his latest typeface, Bella, designed, he tells us, in the classical French Didot style, but based on letterforms by Herb Lubalin, John Pistilli and Jan Tschichold. Featuring extremely thin hairlines, Bella is best suited for use at large display sizes. Here’s a closer look…

“I’ve always loved the ridiculous thin hairlines that featured a lot in New York in the 60s and 70s,” explains Banks of his inspiration for Bella. “Herb Lubalin and Louis Dorfsman were masters at hand drawing thin hairlines,” he continues. “There aren’t that many digital fonts that deal with these extreme hairlines. Possibly due to the complexity of creating them in Font Lab.”

In terms of reference points for Bella, Banks cites Jan Tschichold’s Saskia font…

…and also John Pistilli’s Roman face:

Here is an early sketch by Banks for the S of Bella, and some images of some of the typeface’s completed letterforms:

 

 

Bella is available through hypefortype.com

Rick Banks is also the designer of Type Trumps card game which we blogged about back in 2007 here and also when he released Type Trumps 2 in early 2010, here.

 

 

 

Studio Frith designs Clark monograph

Frith Kerr and Studio Frith have designed an extraordinary book for an extraordinary artist – the avant-garde dancer and choreographer Michael Clark

As well as being one of the foremost dancers of his generation, Clark was renowned for his collaborations with the denizens of London’s post-punk scene. In his costumes (many of which were designed by Leigh Bowery) and staging, Clark has been consistently provocative and imaginative resulting in the wealth of spectacular imagery that populates this 348-page retrospective from Violette Editions.

Clark’s idiosyncratic way with punctutation and capitalisation in the titles of his work is referenced by Kerr in a series of title pages in fluoro yellow throughout the book while the type playfully alludes to dance.

 

 

A really stunning piece of work. Michael Clark is published in September by Violette Editions, £45

 

 

 

CR in Print

Don’t miss out – there’s nothing like CR in print. Our August Summer Reading issue contains our pick of some of our favourite writing on advertising, illustration and graphic design as well as a profile of Marion Deuchars plus pieces on the Vorticists, Total Design, LA Noire and much more

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 and get Monograph.

The Concise Letterpress Typography Workshop

This September, designer Alan Kitching will be hosting two of his workshops which focus on the fundamentals of typography and make full use of the letterpress equipment based at his London shop…

The Typography Workshop has been running for 20 years and is billed as a hands-on course for letterpress enthusiasts. The seminal printers’ handbook, The Printer’s Terms (1949) by Rudolph Hostettler, lies at the heart of the project and Kitching will be referring to 215 of the 1,362 terms featured in the book, a number of which will then be reinterpreted by the workshop’s participants. A selection of the finished pieces are set to be included within a limited edition publication on the project.

Accordingly, as part of the rigourous practice evinced in the workshops, a series of external examiners will also participate including Margaret Calvert, Fernando Gutierrez and George Hardie.

So what can you expect from the two days? The Typography Workshop’s press release states that participants will “work directly with ink, paper and both metal and wood type; learn the fundamentals of letter spacing, leading and kerning; enjoy the thrill of seeing their work come to life through the physicality of letterpress; and gain a more in-depth understanding of typographic detail.”

While interested parties do not need experience of letterpress to participate the course is, they say, “not for the faint-hearted” as it will be “unashamedly delving into the finer details of typography”. It sounds, well, unashamedly great to us.

The dates for the next two workshops are September 9-10 and 23-24. For more information, contact workshop assistants Jon Kielty and Ross Shaw on info@thetypographyworkshop.com. See also thetypographyworkshop.com.

 

CR in Print

Thanks for reading the CR Blog but, if you’re not also getting the printed magazine, we think you are missing out. This month’s bumper July issue contains 60 pages of great images in our Illustration Annual plus features on Chris Milk, Friends With You and the Coca-Cola archive.

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 and get Monograph.

Dalton Maag’s Elevon typeface has just taken off

Dalton Maag has just launched its latest typeface, Elevon.If you think it looks like it might have been developed for the branding of a Sci-Fi movie set in space, well, you’re almost right…

“Yes, the design [of Elevon] is what one would expect from a Sci-Fi movie,” says Bruno Maag. “Actually that’s quite fitting as it was originally designed for the livery of the Virgin Galactic spaceship,” he explains. Just to clarify, the Virgin Galactic Brand Identity was created by GBH, in conjunction with Philippe Starck, with Dalton Maag working with them on the type. “Its square construction, that strictly adheres to a grid, is reminiscent of the staples of the Science Fiction genre,” adds Maag on Elevon. “We have expanded the characterset from the initial cap and lowercases to full Latin, Greek and Cyrillic glyph sets.”

Elevon is available in five weights from Extra Bold through to Ultra Light from daltonmaag.com


Elevon Bold

 


Elevon Regular

 


Elevon Ultra Light

Virgin Galactic would appear to be science fact rather than fiction. For more info, visit virgingalactic.com

 

 

 

CR in Print

Thanks for reading the CR Blog but, if you’re not also getting the printed magazine, we think you are missing out. This month’s bumper July issue contains 60 pages of great images in our Illustration Annual plus features on Chris Milk, Friends With You and the Coca-Cola archive.

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 and get Monograph.