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.
Photographer Thom Atkinson's latest series, Soldiers' Inventories, records the different kinds of military kit, including clothing, weapons and provisions, used by soldiers from the Battle of Hastings to today...
The project appeared in the Saturday Telegraph magazine earlier this month (the article is here) and is part of a continuing body of work of Atkinson's that looks at how conflict is represented in British culture, with a focus on the mythologies that surround warfare.
Huscarl, Battle of Hastings, 1066
"With the exception of the last picture, which I did with the Royal Engineers, the kits were all provided by members of re-enactment and living history groups," Atkinson says of the project.
"They're people with a lot of knowledge but also the experience of wearing and using the equipment. They also have an interest in objects beyond the army issue items – personal effects and other little details, which bring a human element to the project."
Each photograph reflects a particular period of British history and Atkinson's initial research invoved trying to identify the type of soldier which might typify the time. "Often this decision was based on legend," he says. "When I think of the Falklands War, I think of a famous photograph of a column of Royal Marines with a Union flag, so this was the starting point for that picture."
Fighting Archer, Battle of Agincourt, 1415
"The next step was to find a group who re-enacted the Falklands and wanted to be involved. In the case of the Falklands picture [shown second from bottom of post], I worked with a man called Chris Gosling. We discussed together which soldier was the right one to portray for the conflict in question and made various decisions about equipment bearing in mind developments between the preceding and following pictures in the series."
Yorkist Man at Arms, Battle of Bosworth, 1485
The project follows on from his series of images of bombed-out model buildings, Airfix Ruins, but the new approach seems less about how war is represented and instead looks more at the direct experience of it; the physicality of things that have been used or worn by serving soldiers.
"It does look more at the experience of conflict," he says. "But on another level it looks at British mythology again – our history almost seems to be a list of battles and they're very emotive events. I think that's partly why the project has been received in the way it has."
New Model Army Musketeer, Battle of Naseby, 1645
"The objects are a focus and they each represent an experience. They're relics of British history in a way. I feel it more now that the project is finished – at the time you're sometimes too involved and your mind is too occupied with the task – but there is something incredible about feeling the weight of a First World War rifle or hearing the sound of a tin of tobacco snapping open; it just brings you a little bit closer to the past. It's powerful – we've all got relatives who experienced these things."
Private Soldier, Battle of Waterloo, 1815
"The most affecting thing was meeting the soldiers who helped me with the Afghanistan picture [shown bottom of post]. Up until then it all seemed less real, but meeting them was like meeting all of the different historical soldiers I'd been imagining. I suddenly felt it all connecting up and it became much more real."
In terms of art directing the shoot and laying out the objects, Atkinson says each process was like "a six-hour Teris game. Each one was a puzzle which we'd gradually solve."
Private Soldier, Battle of the Somme, 1916
"Objects are generally arranged illustratively," he continues. "Objects which relate to one another are adjacent and, as far as I could, I tried to arrange them in a way that explained them. I really wanted to to show everything, every last object."
In this context (and from picture to picture) the weapons change with the emergence of new technologies, but also stay the same – the 'job' they are supposed to do is effectively the same over the centuries. And this makes the collections all the more affecting. However, also of note are the objects which are very human and suggest the kit belongs to an individual: in several of the images there are games or dice, cards, notes, sweets etc.
Lance Corporal, Parachute Brigade, Battle of Arnhem, 1944
"One of my favourite things is that every picture has a spoon," says Atkinson. "That really amazes me. It makes 1,000 years seem a much shorter time span.
"Water carriers recur as does the need to make fire. Cloaks develop into 'great coats' and then blankets and sleeping bags. Body armour is interesting because it phases out in favour of lightness and manoeuvrability, but it reappears in the Afghanistan picture in the form of a Kevlar vest.
"As you say, entertainment and small comforts are in all of the pictures. It seems to me that while the technology of warfare changes dramatically, the soldier using it is much the same, certainly physically but perhaps also psychologically – objects like pipes and tobacco, or games and entertainment would suggest so."
Royal Marine Commando, Falklands Conflict, 1982
Examining the notion of conflict is an ongoing concern for Atkinson. "A few years ago I realised that I wanted to make work about Britain and it's war mythology," he says. "It sounds a bit grand, but I think it's something very subconscious and profound – it felt very important to go with it.
"Since then I've been working on two much bigger, long term projects, which concern these things – Britain, war, myth, the landscape and how much these things matter to us. To me, these projects are the most important things I've ever tried to make. I hope one day that they will be books."
Close Support Sapper, Royal Engineers, Helmand Province, 2014
"Also I decided that I wanted to move my folio and editorial work more in line with these bigger projects. I wanted it all to fit together and I found it was full of shorter, simpler project ideas which I wanted to follow up. Soldiers' Inventories is one result. I like the idea that nothing is wasted – every folio project helps towards the art projects I'm working on. But [with Solderis' Inventories], I'd like to place it with some archives and museums if I can."
For larger versions of the images shown above, view the full Soldiers' Inventories collection on Atkinson's site at thomatkinson.com. Atkinson is represented by Black Dog.
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.
"I want to be a pilot so I can fly everywhere." (Dhana, Jordan)
In a new project in partnership with the UN, Brandon Stanton, the photographer behind the phenomenally successful blog Humans of New York, is going on a tour of ten countries around the world, to photograph those living there and record their stories. His first port of call was Iraq...
We live in a connected world, with the ability to receive news from every country at the click of the mouse or a sweep of a smartphone. Yet stories from individuals around the globe can be harder to locate, especially those in countries caught up in conflict or poverty. It can be difficult to see behind the headlines and discover the real daily experiences of civilians. This though, is what the Humans of New York UN World Tour is offering.
"I'm a student. My parents didn't want me sitting around the house all summer, so they made me be a shepherd." (Kalak, Iraq)
“We live in a very conservative culture, but I want my children to be open minded. I try to bring them to as many places as possible: big malls, art galleries, concerts. We want them to see as many types of people as possible, and as many types of ideas as possible.” (Erbil, Iraq)
Teaming up with Stanton is an astute move by the UN. Via the HONY blog and Facebook page, which currently has over 9 million followers, he has shared the portraits of thousands of New Yorkers, alongside short quotes from those pictured. This sounds like a simple undertaking, but Stanton's skill lies both in his choice of who to photograph – he shows the true diversity of the people of New York in his images – and his ability to get strangers to reveal intimate details about their lives (in a conversation that may only take a matter of minutes), and then use this information with delicacy and respect. His project is a truly 'human' one, revealing the vast commonalities in all our lives, and in our hopes and dreams, no matter how different our day-to-day circumstances may be.
His world tour will take in ten countries, the first one being Iraq. That his arrival there has coincided with a point of crisis and conflict in the country, which is headline news around the world, is coincidental – the trip was apparently long planned – but this has made Stanton's images seem more relevant and important than ever. In the portraits taken so far, we have heard the stories of people from different aspects of Iraqi society, though nearly all have been affected by war. A number of the Iraq images are shown here, alongside the text that appears with them on the HONY site, plus one image taken in Jordan, shown top, where Stanton has recently arrived on the second stage of the tour.
"I was going to one of my first exams, and suddenly there was a bombing. In downtown Damascus! I couldn't believe it! I didn't think this was possible. Windows were broken everywhere, and there were people on the ground, and the sounds of ambulances. Then over the next few weeks, everything changed. The taxis in the streets were replaced by tanks. You no longer knew who was your friend and who was your enemy. Suddenly you could be killed, and nobody would ask why. Before war, you have rights. People will ask why you were killed. When war comes, nobody asks why you were killed anymore." (Erbil, Iraq)
“My happiest moments are whenever I see my mother happy.” “What’s the happiest you’ve ever seen her?” “When I was a child, some German doctors told us that I could have a surgery in Italy, and my legs would work again. She was so happy she started crying. But I never had the money to go.” (Erbil, Iraq)
This is not the first time that Stanton has ventured outside New York with his portraiture project: in 2011, he visited Iran to photograph the citizens there. Looking at this early project on his blog, however, it is possible to see how Stanton has honed the format of his work since then. Whereas the quotes accompanying his images from Iran are mainly observational or, if they come directly from the subjects, very minimal, he has developed this aspect of his work considerably in the years since, so the portraits have become more personal, and more revealing. In the film below, recorded at a lecture he gave to University College Dublin, he talks through the process he now uses to get the people he approaches to open up.
“I’m living a good life. I’m a business owner. A lot of hotels say, ‘Come shine shoes for us. We will pay you better.’ I tell them: ‘Why would I do that? I am free.’” (Shaqlawa, Iraq)
As the images have become more intimate, the reactions from the public have in turn increased. Each new story posted onto the HONY Facebook page garners thousands of likes and comments, and while Stanton has wrestled with how to handle negative remarks to his images, eventually settling to remove comments that are personally obnoxious towards those featured, it is clear that his work strikes a deep chord with his followers.
After Jordan, Stanton will travel to Africa, where he will visit Uganda, Kenya and the Democratic Republic of Congo, with other countries planned on the trip including India and Vietnam. According to the HONY blog, the purpose of the tour is in part to raise awareness of the UN's Millennium Goals, a series of eight objectives including the eradication of extreme poverty and hunger, the reduction of child mortality and the combating of HIV, Malaria and other diseases, which the UN member states aim to achieve by 2015. But more than that it is to tell the stories of individuals – not, according to Stanton, to "say" anything about the world, "but rather to visit some faraway places and to listen to as many people as possible".
"We just want to be together and not be afraid." (Erbil, Iraq)
There is now just a few days left to complete your entry for the Creative Review Photography Annual 2014, with the chance to showcase your best photographic work from the last yearand benefit from more exposure than ever before.
Showcase your work in front of the judges, guaranteed to be leading names in the industry.
Have your work featured in the CR Photography Annual, published as a special double issue in December in print, for iPad and online, and receive a free print copy.
Attend the exclusive Photography Annual launch party, where the Best in Book work will be displayed in vibrant surroundings.
So submit your best workfrom the past year before midnight on Monday 18th August and ensure you are in the running to appear in the CR Photography Annual 2014.
Over the past decade, the CR Photography Annual has showcased the top work work from the world of commercial photography. In particular, it has provided photographers with a brilliant way to get their personal projects in front of our audience of art directors, designers and creative directors. It's no accident that our most popular category has always been Personal/Non-published.
This year we are shaking things up. This year we are introducing categories to celebrate not just the photographers themselves, but also the art directors and commissioners of photography, including ad agencies, magazines, publishers, stock libraries and fashion brands, with the winning work shown in context of their layouts, pages, covers, and so on.
We are also introducing a category to celebrate the best images commissioned by image libraries to help set standards in this important creative sector.
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.
Eichler Homes was a company, by visionary Joseph Eichler, that built over 11,000 Mid-Century modern homes in California between 1950 and 1974. Eichler was responsible for bringing modern architecture to middle-class Americans. Eichler Homes commissioned some of the most prominent modern architects of the time including Anshen & Allen, Claude Oakland & Associates, Jones & Emmons, A. Quincy Jones, and Raphael Soriano.
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: