This year we've approached our graduate issue slightly differently. Covering the shows (and talent) on the blog, in print we decided to see just where a creative education can take you – from becoming production designer on Game of Thrones or Rihanna's creative director, to working as head of visual creative for Save the Children. The Shellsuit Zombie collective also present a guide to 'what next'; we explore what happens when advertising attempts to 'do good'; and, from new book TM, we finally get to the truth behind the creation of the Woolmark...
Opening the issue (and featuring on the cover and in Monograph), we look at artist Jim Lambie's new 100m long path in Glasgow designed to look like a shelf of records, and how it was made. Russ Coleman and Kirk Teasdale talk through how they constructed it from coloured concrete.
We also look at the controversy surrounding Penguin's new cover for Charlie and the Chocolate Factory, Stefan Sagmeister's recent take on creative types calling themselves "storytellers", and examine the Airbnb rebrand which, as Design Week's Angus Montogmery argues, could well become one of this year's landmark projects.
In the columns, Michael Evamy explores the trend for identities based on bespoke typefaces, potentially replacing logos altogether; while Daniel Benneworth-Gray looks at the way designers have been reprented on the big screen and decides that a Pixar animation might in fact give the closest approximation of what it feels like to work in the profession (it's not all like it is in Catwoman).
Shellsuit Zombie open our Grad Guide with a ten-point look at what the next stages might be for graduates who want to pursue a creative career...
... while our main graduate section looks at thinking beyond the agency or studio environment. We talk to six people with inspiring and unusual jobs and ask them how they got to be where they are today.
We start with Jess Crombie, head of visual creative at Save the Children...
... and then meet Gemma Jackson, production designer on Game of Thrones.
We also interview Clair Battison, senior preservation conservator at the Victoria & Albert Museum; Rachel Louis, arts participation manager at Vital Arts; and Brad Silby (below), Framestore lead animator on films such as Where the Wild Things Are and Guardians of the Galaxy...
... before talking to Simon Henwood (above), creative director for musicians such as Kanye West and Rihanna.
We also invite Grey ECD Nils Leonard and William Fowler, Headspace creative director and CR-columinst to a GoogleChat to debate what happens when advertising attempts to 'do good'; and feature an extract from TM, a new book looking at the history of 29 classic logos by CR's Mark Sinclair, which finally gets to the bottom of how the Woolmark logo came about in the mid-1960s.
In Crit, Rick Poynor finds much to pore over at this year's Rencontres D'Arles festival of photography...
... while Sarah Snaith reports back from a new exhibition at the De La Warr Pavilion dedicated to the work of US designer, Ivan Chermayeff. At the back, Paul Belford talks through a deceptively simple-looking print ad for the Guide Dogs for the Blind Association.
This issue's Monograph features some behind the scenes images of the creation of Jim Lambie's concrete path in Glasgow, with photographs of the process taken by Kirk Teasdale. The new issue is available to buy now. To subscribe to CR, go here.
George Pearson's 1914 production of A Study in Scarlet was the first film to feature Sherlock Holmes – but it hasn't been seen in generations. Now, the Museum of London and the BFI are hoping the public can help track it down, in time for the museum's forthcoming exhibition on the much-loved detective...
Earlier this year another of Pearson's films, Love, Life and Laughter (1923) was rediscovered by EYE, the Dutch film archive. The director's A Study in Scarlet was the first film Pearson made for the Samuelson Manufacturing Company – it even featured one of the firm's employees, James Bragington, who, while not a professional actor, certainly looked every bit the part (below).
The silent film adaptation of Sir Arthur Conan Doyle's story concerns a fictional murder which takes place on Brigham Young's trek across America with his Mormon followers. According to the Museum of London, the film was shot at Worton Hall studios and on location at Cheddar Gorge in Somerset and Southport Sands in Merseyside, which stood in for the Rocky Mountains and the Utah plains.
It is currently one of the oldest films on the BFI's 75 Most Wanted list.
"Every archivist dreams of finding lost films," says Bryony Dixon, curator of Silent Film at the BFI National Archive.
"But this is a film of great importance. Sherlock Holmes is internationally renowned as a great detective. It would be wonderfully appropriate if a super-sleuth could help us celebrate the centenary of this film with a chance to see it."
If any CR blog readers have information on the missing film, please contact email@example.com or use the hashtag #FindSherlock on Twitter.
Sherlock Holmes: The Man Who Never Lived and Will Never Die opens on October 17 at the Museum of London and runs until April 12 2015. More at museumoflondon.org.uk.
D&AD has released the cover for its 2014 annual, designed by members of Australian performance and visual art collective, The Kingpins.
The striking image was created by Técha Noble and Emma Price, two members of the experimental art quartet producing paintings, clothing, video, installations and performance art.
The pair were selected by D&AD president Laura Jordan-Bambach and are one of five creative teams and designers commissioned to work on the annual. The others are Brazilian book designer Elaine Ramos; New Delhi design studio Codesign, Japanese digital collective Rhizomatiks and Vietnamese studio Rice Creative.
Jordan-Bambach says this year's annual aims to showcase "a new wave of emerging design, which shakes off the shackles of the white, middle-class, western, male perspective, traditional in our industry."
"In my year as D&AD President, I’ve spent a lot of time exploring design communities and cultures all around the globe. I’ve not only unearthed so much incredible work, but I’ve learned about what design truly means in these place," she adds.
The book will be released during London Design Festival on September 16 and is available to pre-oder on D&AD's website. It's a dramatically different look to last year's annual cover, which was designed by Bath Spa graduate Fleur Isbell and featured a series of beautiful horizon motifs using latitudinal and meteorological data from 196 countries (see our blog post on it here). 2012's featured a typographic cover, while 2011's, designed by Pentagram's Harry Pearce, was based on the D&AD logo.
Hack Attack is Guardian special correspondent Nick Davies' account of how he helped to expose one of the biggest media scandals of recent times, centred on the newsroom at The News of the World. In our latest Front to Back, Vintage senior designer James Jones takes us through his cover design for this explosive title...
The book is the culmination of Davies' work to uncover a world of private investigators, phone hacking and police bribery, and shed light on how Rupert Murdoch's News International tried to protect its interests in the face of increasing revelations about its journalistic practices.
"Above all," runs the publisher's details on the title, "this book paints an intimate portrait of the power elite which gave Murdoch privileged access to government, and allowed him and his people to intimidate anyone who stood up to them."
Vintage designer Jones takes up the story from the point at which he first read through the manuscript for the book. What follows charts his journey through myriad cover options and type treatments which resulted in the cover shown at the top of the post.
"The design process for Hack Attack started with an early version of the manuscript," says Jones. "From there I started scribbling down ideas on the pages before transferring the more successful notes on themes and visuals to my sketch book to help visualise the cover. This helps me identify early on the ideas to pursue and the ones to let go."
Working from the strongest ideas in his sketchbook, Jones looked to typographic sets that might reflect the content of the book.
"To begin with I kept things simple," he says, "with some typographic versions mimicking newspaper headlines. The initial idea was to screen print these to give them a more textured feel but they lacked any authority and looked pretty much like every other ‘newspaper scandal' book out there."
"So I started playing with the format, placing the newspaper into an advertisement board, having stacks of papers creating the type with their own corresponding headlines and playing with the idea of the many layers within the book which Nick talks about.
"Eventually I realised that to stand out from the crowd we needed a slightly different approach."
"I experimented with some earlier ideas which were more conceptual, running with the ‘many layers' theme by visually representing the phones hacked and the amount of people affected by the Murdoch empire.
"Repeated sim cards, photocopied images of Murdoch and mobiles were used to create some more graphic visuals. And it was here where I first started using a more typographic approach to the cover. Each letter used is a typeface from the newspapers mentioned within the book, hinting at their involvement within the scandal and in pursuing justice.
"This also allowed me to take the subtitle and use it as part of the design, utilising even more typefaces and ripped newspaper articles to make the Murdoch outline, but it was felt this may be too gimmicky (although I still hold a soft spot for them). A sim card border also came out of this process which divides the title and subtitle and also represents those hacked"
Detail from the type-led cover treatment shown above (in red)
"The final design came from me stripping back all these ideas and using all the elements that were working from start to finish," says Jones.
"The different typefaces, the sim card patterns, the phone as part of the type and the newspaper texture all came from previous visuals. The final version includes some gold foil for the sim cards on a nice textured stock to give it that newspaper feel."
CR's pick of current and upcoming exhibitions, design events and creative activities including Beacons Festival in Yorkshire; Jeremy Deller in Bristol; Lucy Sparrow's Corner Shop in London; illustrator Tom Frost and 3D paper artist Sarah Bridgland at Yorkshire Sculpture Park; Chicago Design Museum's first show in their new home, Starts/Speculations; and Antoine de Galbert's Le mur in Paris...
Beacons Festival Heslaker Farm, Skipton 7-10 August 2014
The lovely Beacons Festival returns this weekend to the glorious rolling hills of the Yorkshire Dales, drawing creative folk from around the country to enjoy another joyous weekend of music and art.
Joining Jon Hopkins, British Sea Power, Daughter, East India Youth, XXYYXX, Toy and a whole lot more from the music line-up, there's plenty of arts and culture alongside. Dawsons Arthouse returns, with a programme curated by independent Leeds book store and gallery Village, bringing together creatives from a variety of disciplines, including Olio Studio, Last Straw Collective, Preston is my Paris and Mates. There'll be exhibitions, Q&As, film screenings, and workshops including sign painting, screen-printing, zine making and street photography.
The Print Project also return with the chance to screenprint your own Beacons poster, plus have your portrait drawn in the Artomatic illustration photobooth. Keep an eye out for experimental audio-visual work Arborescent using ‘graphic scores'; outdoor visuals and projections from AV specialists Lumen; and other art installations and indie design stalls around the site.
Click here to check out our round-up from last year. It's set to be another magic weekend for party-goers and families alike. Day passes (which include a night's camping) and weekend tickets are still available here.
Jeremy Deller: English Magic Bristol Museum & Art Gallery Until 21 Sep
Previously exhibited as part of the Venice Biennale exhibition last year, and following a stint at Walthamstow's William Morris Gallery, Deller's English Magic comes to Bristol. Mixing large-scale murals, installations, drawings, photographs, film and historical elements, the exhibition explores the artist's interest in the nature of English culture, from politics to Ziggy Stardust.
Deller also works with each venue to present the exhibition in a way that is specific to that space, with Bristol including paintings of the 1831 Bristol Riots by William James Miller and a display of taxidermy. After Bristol, the show will tour to Turner Contempory in Margate (11 Oct - 11 Jan).
Lucy Sparrow's Cornershop 19 Wellington Row, London E2 7BB Until 31 Aug
Over 4,000 felt versions of grocery items fill this formally derelict shop in Bethnal Green - sweets, fish fingers, cigarettes, toilet roll, newspapers, condoms, ice lollies and more, even the till and functioning pricing have all been hand-sewn by Sparrow over the last seven months.
Everything is for sale, (but stays in the store for the month), and workshops run alongside, including fluffy drinks cans and stitched crisp making - click here for dates..
Starts/Speculations: Graphic Design in Chicago Past and Future Chicago Design Museum Until 30 Sep
Having recently relocated to a new permanent home this June (after a hugely successful Kickstarter campaign), the Chicago Design Museum celebrates 100 years of design activity in Chicago with the first exhibition in the Block Thirty Seven space.
The show aims to be "an anthology of work from Chicago's graphic design legacy and a glimpse into how the tools we use to design and communicate could evolve and influence our interactions in the future". Archival pieces come from AIGA, Bauhaus Chicago Foundation Archives, and many others, plus a variety of new work from emerging design studios.
The Wild Collection by Tom Frost and Drawing with Paper with Sarah Bridgland Yorkshire Sculpture Park Tom Frost until 7 Sep Sarah Bridgland 13 Sep
There's always some lovely stuff to see and do at Yorkshire Sculpture Park in every season. Currently in Garden Gallery there's work from illustrator Tom Frost, with The Wild Collection, inspired by YSP's historic landscape and varied wildlife. The show includes collectors cards, school charts and specimen matchboxes, plus a limited edition screenprint, Ram Brand (above left), created especially for YSP.
Next month, join artist Sarah Bridgland for a workshop on 3D collages (above right), with shapes, objects and textures inspired by YSP gathered after a stroll around the park (below).
Le mur (The wall) La Maison Rouge - Fondation Antoine de Galbert, Paris Until 21 Sep
As part of its tenth anniversary more than 1,200 works from founder Antione de Galbert's private collection are being presented in a 3m high, 200m long ribbon around the walls of the foundation.
A computer programme was used to curate the show, with the size and inventory number as data, with paintings, videos, sculptures, sketches and anything that can be hung collected together in one vast unending frieze. The unconventional presentation, mixing the likes of Anders Petersen, Eadweard Muybridge, Gilbert & George, Jan Fabre, Hans Bellmer, Jochen Gerner and many more, aims to "raise questions about the actual art of collecting, hanging, storing and showing art".
On its 50th anniversary, one of Roald Dahl's most well known books – Charlie and the Chocolate Factory – is being reissued as a Penguin Modern Classic. Its cover, which places some of Dahl's darker themes in front of a new audience, has already caused something of a stir online...
Published next month, Charlie and the Chocolate Factory will become one of a handful of children's books on the Modern Classics list. Its long life as a children's favourite has seen covers ranging from depictions of Willy Wonka and his factory to Charlie Bucket and his golden ticket, with many incarnations penned by Dahl's long-term collaborator, Quentin Blake.
The approach for the new edition could not be more different.
Initial reaction, on Twitter at least, hasn't been that favourable with many commenters believing the image of a young girl readied as if for a beauty pageant to be too unsettling, and more in keeping with stereotypical cover ideas for Nabokov's Lolita.
Indeed, debate regarding the sexualisation of children may seem out of place on the front of a children's book, and without the wider context of the original fashion spread – which would certainly suggest the hand of the parent is at work in the process – the image is understandably more provocative.
That said, I think it works. While the candy-colours hint at the sickly-sweetness of Willy Wonka's confection, of more significance is the unnerving quality of the image which touches on one of the main undercurrents in the book: the relationship between children and their parents, and what can happen when fame and fortune enter into their lives. (Visually, if it alludes to any of the book's characters, it's likely to be Veruca Salt, the spoilt English darling who gets anything she wants. Here, her ‘mother' has been cropped just out of shot).
Yet perhaps what has added to the upset stems from the way readers associate certain books with certain covers. Any deviation from the norm – in the form of a new cover – is an affront to their own experience of the book.
Charlie and the Chocolate Factory is a book that many will have read in childhood, but not gone back to. In producing another visual take on the story (and one of the themes within it), a further aim of the new cover is to attract those who might now consider reading the book again. After all, themes that were once undetectable many years ago, might now come rearing back into focus. The title's position as part of the Modern Classics series invites such a reassessment by adult readers, so it is important that the cover addresses this new perspective.
According to a page on the Penguin blog, the Modern Classics cover "looks at the children at the centre of the story, and highlights the way Roald Dahl's writing manages to embrace both the light and the dark aspects of life."
It does that well, perhaps disturbingly well. Speculation, of course, but I think Dahl may well have been in favour.
Charlie and the Chocolate Factory is published as a Penguin Modern Classic on September 4 (£7.99). More at penguinclassics.co.uk.
Incase you still haven't got your hands on the August issue of Creative Review - a CGI special - and you fancy some extra videos and exclusive images on the side, remember you can also get it on the iPad. You'll find all the print mag content and monograph, plus a whole lot more in Hi Res, our showcase gallery section, and CRTV, with some amazing moving image work, from interviews to animations to short documentaries and more...
The Features section of this month's issue includes designer Carl Burgess making a case for digital imagemaking as an antidote to our nostalgic obsession with the handmade; a look at Worship, a film for UNKLE by Warren du Preez, Nick Thornton Jones and the team at VFX house Glassworks, which pushes digital techniques to the limits (above right); photographer Giles Revell who uses hi-tech processes to re-present traditional artistic subjects; and self-taught 3D artist Ben Koppell (below left).
Plus, Disobedient Objects at the V&A; Digital Revolution at the Barbican (above right); Folk Art at Tate Britain; the history of RCA's Ark magazine; AKQA's Nick Turner on Google's new Material Design guidelines, and more...
In Hi Res you'll find posters from the Graphic Advocacy show (below left); unseen images from the Bowie / Duffy collaborative photo shoots (above left); Monotype full stops from the archives as part of the Century exhibition; photos playing with fakery and narrative from Joan Fontcuberta's Stranger Than Fiction show (above right); new work from illustrator Shaun Mills (below right); A Portrait of Hackney by photographer Zed Nelson, and highlights from Broomberg & Chanarin's Divine Violence exhibition.
CRTV includes an interview with typographer Erik Spiekermann; a behind-the-scenes look at Mikey Please's remarkable Marilyn Myller animation, plus the full film (below right); Stephan Jose's documentary about The Artisan Press; The Putter by Shaun Bloodworth, a portrait of one of the few remaining scissor manufacturers in the world (below left); Doug Hindson's Frisson, a tense, award-winning short about thrills; the Sandman as part of Stella Artois's Perfectionists series; and a selection of new CGI shorts from Supinfocom Arles 3D Animation School.
Dot Zero was a quarterly by Unimark in partnership with Finch Paper that focused on the theory and practice of visual communication. Only five issues were published between 1966 and 1968, and Massimo Vignelli was the designer and creative director of the magazine. Vignelli wanted to make the design exciting, but simple, so he set all type in only two weights of Helvetica and everything printed in black and white.
Michael Bierut interviewed Vignelli about the magazine. Some nice insights on how the publication came about, and its production.
“Grids: Their Meaning and Use for Federal Designers” is a book based on a presentation given by Massimo Vignelli at a seminar for federal graphic designers at the Illinois Institute of Technology on November 10, 1976.
He covers the basics of grid design, then shows how grids were used in some of the projects that he worked on. It’s a nice little read. Hi-res scan of the entire book is available here.
As part of our Talent Spotters series of degree show reviews, Justin Barrow, art director and founder of Supreme design and branding agency, selects his favourite projects from the Arts University Bournemouth BA Visual Communication degree show...
I am always excited to see what's happening at the BA Visual Communication degree show at the Arts University Bournemouth and this year's graduates didn't disappoint. Aptly named Fridgeworthy, the studentsshowcased a great mix of graphic design, photography, illustration and printmaking and highlighted that the future world of design is in safe hands!
The 12th Man byStephen Flagg combines his love for football and visual communication and gives insight in the many layers of under-represented fan characteristics and reflects 'true fans' in a positive manner, through playful typography and familiar tactical image-making.
Lewis Bartlett's By Hand project is a celebration of the beauty of print, displayed though a series of posters and print plates, that showcase traditional print techniques such as relief printmaking and foil blocking, and highlight how these processes converge with new technologies.
Aizzah Hanis' Angry Grrrls Club Feminist zine and posters creates a space for every girl and woman in Brunei to express their thoughts and feelings about being a girl and a woman in a traditional society. Each illustration is based on the personal writings and thoughts of girls and women from Brunei and the style of illustrations reiterate the freedom that Hanis so strongly discussed within the zine.
The Farrant Avenue Project by Oliver Purrsey is a photo-documentary of his family's experience of community street culture in Wood Green, London, as the location transitions into a contemporary, anonymous, ever-changing environment. This project is a real celebration of place, visualised through some beautiful photography and brought together in a fantastic piece of editorial.
Sam Hodgson's The Human Experience is a playful insight into who we are and what it is to be human through four stages; consciousness, experience, language and culture. Through type and illustrative diagrams the project visualises how we interact with each other in the modern world, using experimental folds so that we can navigate the project in our own way, encouraging us to discover our own meaning of The Human Experience.
For more on the BA (Hons) Visual Communication at AUB show, go to: