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Inside the world of Jean Paul Gaultier

Posted: April 15th, 2014 | Author: Antonia Wilson | Filed under: Advertising, Graphic Design, Photography | Comments Off

Fashion designer Jean-Paul Gaultier comes to London with a new major retrospective at the Barbican and an additional exhibition of ephemera at the Fashion Space Gallery. It's a rare and fascinating opportunity to get inside the creative mind of one of fashion's most daring designers, whose work celebrates the pleasure of looking, sexual empowerment and the diversity of real beauty...

"The exhibition is a study in pure creativity," says Jane Alison, head of visual arts at the Barbican. "All that he does is infused with a genuine love of life, which I find deeply infectious. But the humanity and humour which are his trademarks are also underpinned by discipline, professionalism, and a skill that is second to none."

The Barbican show, entitled The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk, explores Gaultier's exuberant inventiveness, his long-standing reputation as fashion's enfant terrible, and his embrace of cultural and sexual difference and beauty in all its shapes and sizes.

The show is split into eight thematic sections - The Odyssey of Jean Paul Gaultier, Punk Cancan, Muses, The Boudoir, Metropolis, Eurotrash, Skin Deep and Urban Jungle. Each features a series of mannequins dressed in Gaultier's dazzling apparel. Some have faces projected onto their heads, unnervingly bringing the figures to life, as they blink, sing, chat and appear to make eye contact with visitors. Originally touring from Montreal Museum of Fine Art, the Barbican show also includes three new rooms for London, devoted to Gaultier's muses, including Kylie, Madonna, Kate Moss and Amy Winehouse.

Alongside these haute couture living dolls, there's a mechanical catwalk; archive video footage from the shows; some beautiful fashion photography, from the likes of Stéphane Sednaoui, David LaChapelle, Pierre et Gilles, and Sølve Sundsbø amongst others; Eurotrash memorabilia; and even the spitting image Gaultier puppet, on show for the first time.

The vast array of dramatically-lit couture, sits tantalizingly within arms reach, in this exciting chance for visitors to experience the work in the flesh."If you think about it, it's easier to see a Van Gogh or a Monet, than it is to see haute couture. You have the impression that you see haute couture because you see many illustrations, and great photos, but you don't have the opportunity to see the skills, to see the objects, the pieces," says Director of Montreal Museum of Fine Art Nathalie Bondil.

"It's not really about fashion, its about his humanist vision. And I want you to see it as a really open minded, tolerant vision of our society," she says, describing the "magical and meaningful" translation of his ethos into the exhibition. "And the animated mannequins, they pay tribute to the people who have inspired him, the people he loves, by making them human."

In conversation with the show's curator Thierry-Maxime Loriot prior to the preview, self-taught Gaultier traces his love for sketching glamourous women back to school-age, and describes his incredibly wide and diverse set of influences - seeing his grandmother's corsets at a young age, which he saw as "abstract" objects; the theatricality of the Rocky Horror Picture Show; and his Hasidic Jew inspired collection of men's skirts. He talks passionately about his long love affair with London and "its characters - the different and beautiful". First visiting the city in the 70s, he was inspired by the subversive spirit, humour and radical experimentation of the countercultures he discovered, particularly the punk scene.

Alongside the Barbican show, is another smaller exhibition of Gaultier's graphic design work, Be My Guest, at Fashion Space Gallery, part of the London College of Fashion, curated by Alison Moloney from LCF, alongside Loriot. Having worked with the Barbican in the past, LCF approached them about organizing a satellite show, which Fashion Space has put on before in collaboration with other major museums' fashion exhibitions, such as Yohji Yamamoto at the V&A in 2011. Working with the Montreal Museum of Fine Art, and Maison Jean Paul Gaultier Paris, the Fashion Space show was put together, on loan, from Gaultier's extensive archive.

"When you have an exhibition of such an intense and dense body of work, at the Barbican, how do you begin to tell a different story, because we didn't want to recreate a mini version of a major exhibition. We wanted to tell a different story about the same man and his work," says Moloney.

The show features iconic ad campaigns from throughout Gaultier's career, and invitations which have never been on show before, so it's a rare opportunity to access these usually unseen relics and often lost fragments of creative activity, from iconic moments in the history of fashion.

The work demonstrates how, from the outset, Gaultier translated his vision for his collections into all his creative work. "Its great for the students to see how from the beginning of his career, Gaultier developed his own advertising campaigns and invitations, so they can think about how they too can brand their own image," says Moloney. "And I think its nice for a wider public who never have access to seeing such material, because the invites were only ever sent to industry insiders."

Not all the invitations have survived over the years, but the exhibition includes ones from seminal shows, such as the Dada collection where he presented his corset bras and jumpsuits for the first time. Moloney's personal favourite is the ad campaign for A Wardrobe For Two, with a figure dressed in the classic blue and white Breton stripes, and a 'crack' down the middle of the image. "It's from when he was first talking about his ideas around androgyny. You need to look twice at the image and then you see that it's a man and a women. It's so simple but its genius," she says.

They decided to show ad campaigns from the 80s and early 90s because this was when Gaultier was photographing the campaigns himself, working closely with his collaborator, and former boyfriend, the late Francis Menuge, with whom he established the business.

"The concepts for the invitations to the catwalk shows were devised a month in advance and referenced the inspiration for the collection. The Constructivist or Russian Collection show invite perfectly captures the inspiration behind the collection which was based on this art movement." Moloney says. "The Frida Kahlo tribute collection ad campaign was illustrated by Fred Langlais who has worked with Gaultier in his atelier for many years and reflects the diverse approaches and styles which the designer adopted."

Part of Gaultier's appeal is his relationship to visual culture; how he continues to work within a creative feedback loop drawing from a melting pot of high and low culture, religion, art movements, politics, and more, and in turn his work transcends the fashion world. As echoed in these shows, he has the power to inspire creative minds whatever your background, and remind us that humour and risk, alongside skill and discipline, are often what produce truly unforgettable work.

The Fashion World of Jean Paul Gaultier From the Sidewalk to the Catwalk runs until 25 August at the Barbican Art Gallery, London. Jean Paul Gaultier: Be My Guest runs until 31 March at Fashion Space Gallery, London College of Fashion. See www.arts.ac.uk/fashion and www.barbican.org.uk/artgallery


Picture credits

Image 1: Ad campaign for the Tribute to Frida Kahlo collection, 1998 (Jean Paul Gaultier/LCF). Images 2-6: The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibition (Barbican). Image 7:Jean Paul Gaultier, 1990. Images 8-9: From the Barbican exhibtion. Image 10:Body corset worn by Madonna (Jean Paul Gaultier). Image 11: Tanel Bedrossiantz, by Paolo Roversi, 1992 (Jean Paul Gaultier). Image 12: By Miles Aldridge (Jean Paul Gaultier). Image 13: By Stéphane Sednaoui for The Face, 1989. Image 14: Advertising campaign for the fin de siècle collection, 1995 (Jean Paul Gaultier/LCF). Image 15-19: From the LCF exhibition. Image 20: Invite for Constructivist (or Russian) collection, 1986-1987 (Jean Paul Gaultier). Image 21:Advertising campaign for the Elegance Contest and Casanova at the Gym collections, 1992 (Jean Paul Gaultier/LCF). Image 22: The Concierge is in the Staircase collection, 1998 (Jean Paul Gaultier/LCF). Image 23: Advertising campaign for A Wardrobe for Two collection, 1985 (Jean Paul Gaultier/LCF). Image 24: The Virgin with the Serpents (Kylie Minogue), 2008, by Pierre et Giles (Jean Paul Gaultier). Image 25: "Aow Tou Dou Zat" single covers, design by Jean-Baptiste Mondino (Jean Paul Gaultier). Image 26: Invitation to the Dance with Elena Sudakova, Numéro, 2008, by Sølve Sundsbø (Jean Paul Gaultier)

Circa 1983

Posted: April 10th, 2014 | Author: Antonio Carusone | Filed under: color, landscape, Photography | Comments Off

Circa 1983

Circa 1983

Circa 1983

Circa 1983

Circa 1983 is a site featuring the photography of Owen Perry. A lot beautiful imagery here. Go through the galleries while listening to Boards of Canada for the perfect viewing experience.

TBWA, Paul Belford & Rankin launch campaign for Ataxia UK

Posted: April 7th, 2014 | Author: Rachael Steven | Filed under: Advertising, Graphic Design, Photography | Comments Off

Photographer Rankin, art director Paul Belford and TBWA London have launched a powerful poster campaign for charity Ataxia UK that aims to raise awareness of the rare genetic disease.

Ataxia affects around 10,000 people in the UK but according to a recent YouGov study, only nine percent of adults know what it is. There are various forms of the condition, which can affect sight, hearing, speech and co-ordination, and while the severity of symtpoms varies, most sufferers lose mobility. At present, there is no known cure or treatment.

In a series of posters designed by Belford, portraits of sufferers shot by Rankin have been distorted to represent the condition's neurological impact. The black-and-white images are accompanied by strap lines that acknowledge the disease's low profile, but liken its severity to well-known conditions such as Parkinson's, Cerebral Palsy and Multiple Sclerosis.

Describing ataxia as their "just-as-deadly but lesser-known relation", the ads warn of the condition's wide ranging symptoms, its aggression in young sufferers and its links to heart disease and diabetes. They also invite people to donate to Ataxia UK and provide a link to the charity's website.

To create the distorted effect, Belford placed Rankin's images in a flatbed scanner and moved them during the scanning process. It's an effective and attention grabbing way to demonstrate ataxia's impact and Belford has also applied the technique to typography.

As we noted in a recent article on a campaign portraying Parkinson's, one of the greatest challenges in charity advertising is devising something that will shock the public into taking notice without frightening or offending those affected by the issues it promotes.

In this case, Ataxia UK is candid about the condition's severity and the fact it's incurable but it is sensitive to sufferers and their families and ends with a positive call to action, encouraging people to "attack" the disease by donating to the charity.

Straplines such as "Ataxia. It’s like multiple sclerosis ganged up with Parkinson’s and played a dirty trick on Cerebral Palsy" aren't intended to suggest the condition is 'worse' or more deserving of support than other diseases, but simply highlight the fact that while it shares many symptoms with them, ataxia is comparitively unknown. As most people will know of at least one or two of the symptoms associated with more common conditions, it also gives audiences an impression of ataxia and its effects at a glance.

Sue Millman, chief executive of Ataxia UK, says that she hopes the campaign will shed light on the disease and help raise the money needed to find a cure or possible treatments.

“While awareness of multiple sclerosis, motor neurone disease or Parkinson’s is high, degenerative conditions like ataxias, which have similar symptoms and affect people in a similar way, are not well known.  With no famous faces affected by ataxia to fight our corner, we really are invisible...We hope this campaign will really bring attention to what it’s like living with this condition," she adds.

Chief creative officer: Peter Souter
ECD: Jeremy Carr
Copywriting: Antonia Clayton
Art direction: Pat Comer
Art direction/design/typography: Paul Belford
Photography: Rankin

The 100 Archive: documenting Irish design

Posted: April 2nd, 2014 | Author: Rachael Steven | Filed under: Books, Digital, Graphic Design, Illustration, Magazine / Newspaper, Photography, Type / Typography | Comments Off

Ireland’s creative community has launched an online archive documenting visual communications in the country. We spoke to designer David Wall about the project...

At this year's Offset conference in Dublin last month, the three-day schedule featured a range of talks from Irish creatives: photographer Richard Mosse discussed his stunning images from Eastern Congo, Chris Judge spoke about his award-winning children's book, The Lonely Beast, and street artist Maser reflected on his colourful and thought provoking public artworks. On smaller stages, studios and educators spoke about their creative heroes, getting commissioned and judging good design - and several mentioned the 100 Archive.

The 100 Archive is a website documenting visual communications in Ireland – from illustration and animation to album covers, packaging, identities, exhibition graphics and logos.

The site is divided into two parts: 100 Future, which acts as a rolling record of contemporary professional work in the country and 100 Past; an archive of the 100 finest projects submitted each year, as well as examples of great graphic design and communications dating back to the 1960s.

The project was initiated by four Dublin studios - Atelier, Conor & David, Detail and Studio AAD. Atelier founder David Smith first suggested the idea at AGI Open in Barcelona in 2011, when he became the first Irish member of AGI, followed by Johnny Kelly a year later.

The archive was officially launched late last year and since then, it has received hundreds of submissions: a curatorial panel are in the process of judging the finest projects from 2010-13 for 100 Past, which launches next month, and they have also trawled archives and personal collections for interesting items from the past five decades.

“Ireland has a rich visual culture and history of visual communication,” says Conor & David co-founder David Wall. “Design competitions have played a vital role in the setting and raising of standards, but they haven’t left us with an extensive record of the work done here. The ultimate goal of the 100 Archive is to establish such a record,” he adds.

To submit work to the 100 Archive, creatives pay a 20 Euro fee and their entry is assessed by a professional panel who decide if it’s suitable. The panel is currently made up of Johnny Kelly, Alastair Keady (Hexhibit), Susan Murphy (Ogilvy & Mather), Gillian Reidy (Penhouse) and Eamon Spelmen (Limerick School of Art & Design).

The criteria for submissions is broad, says Wall, and any work that has been produced in response to a commission and led by an Irish designer or created in Ireland, is eligible.

“If the work can be described as any of the following: good, interesting, different, unexpected, simple, modest, clear, well executed, considered, culturally relevant or noteworthy, it can be added to 100 Future,” he adds. If three out of five judges opt to include a project then it is uploaded, and judges aren't aware of how their peers have voted.

There are local and global awards schemes for Irish creatives who’d like to see their work recognised, of course - some of which are documented online - but Wall says that as a non-competitive scheme, the 100 Archive offers something quite different and is more inclusive.

"As a non-competitive space for showcasing work, the archive offers a celebration of graphic design rather than the exaltation of a small group. Crediting of work is centred around individuals…so as the archive grows, it offers a rich history of the people behind the practice,” he says. “For those at one removed from the day-to-day industry here — whether they’re students or designers based abroad — the Archive [also] provides an overview of ongoing work here,” he adds.

The 100 projects added to 100 Past each year are chosen by an additional curatorial panel, which will change every three years. The current line-up consists of Brenda Dermody, Gerard Fox, Oonagh Young, Linda King and Liam McComish, who have also been responsible for sourcing historical work from archives and personal collections.

As well as its core staff, the site lists a number of ‘founders’ who have made the site’s launch possible through donations. The team has received hundreds of submissions for inclusion so far and Wall says many have dedicated their own time and resources to sourcing archive material. These objects will be launched on 100 Past later this year, says Wall, and include packaging, album artwork and editorial design.

“One of the things I’m most looking forward to seeing is the evolution of the Tayto pack. Tayto is one of Ireland’s longest established crisp brands — their packaging has passed through the hands of many designers over the years so that will make an interesting case study,” he says.

“Another gem that has come to light is Campaign magazine, which came to us from ICAD. They are the oldest representative body for creatives in Ireland and have been working with us to identify projects and individuals of merit from their extensive archive - Campaign was their magazine in the 1960s and 1970s and some of the cover designs are a joy to behold,” he adds.

More recent examples include the cover of U2’s Boy, designed by Steve Averill, which Wall says is one of his earliest memories of graphic design. “I remember being struck by the image on the cassette cover when I was barely older than the boy pictured on it. Steve’s son Jon is also a practicing designer, and part of the 100 Archive community too."

The 100 Archive is a community project, and Wall says the response to the site has been overwhelming. “At each step, we’ve found more and more people who are willing to help  - one of the exciting parts of the process has been to forge new connections with designers whose work I knew but didn’t previously know personally,” he adds. In the future, he hopes there will be an exhibition of featured work from the 100 Archive, too.

It's an interesting model and The 100 Archive provides a great platform for the country's designers to share their achievements, work together and review their practice on a regular basis. The site should also prove a valuable source of inspiration for aspiring creatives, and a useful reference point for designers based abroad.

Images (from top): Dublin UNESCO City of Literature Stamp by The Stone Twins; What Happens Next is a Secret exhibition catalogue by Ciaran OGaora; Insular typeface by Naoise Ó Conchubhair; Le Cool exhibition poster by Rory McCormick and Rossi McAuley; Back to the Start by Johnny Kelly; DIT Masters of Arts programme by Cian McKenna; Ard Bia cookbook by Me&Him&You; David Smith & Oran Day's artwork for Ghost Maps; Wayne Daly's Archizines; a 1963 cover of Campaign magazine;  album artwork for U2's Boy; AGI Open identity by Dan Flynn, album art for Dulra by David Donohoe studio and The Lonely Beast ABC app by Chris Judge. For more info on each project see the100archive.com

Nokia enlists students to create phone imagery

Posted: April 1st, 2014 | Author: Patrick Burgoyne | Filed under: Digital, Photography | Comments Off

Above: by Akseli Valmunen of Lahti University of Applied Sciences

As part of its Future Creatives scheme, Nokia is working with students around the world to create wallpaper imagery for its phones

The pictures are pre-loaded onto a variety of Nokia devices as ‘lock-screen' images. Students are paid €500 per image used while the college faculty receives a payment of €2500 to be spent ‘in pursuit of photographic excellence'.

The scheme, which started just over a year ago, is run by Nokia Design's head of visual content David Harrigan and his London-based team. Previously, Harrigan explains, the lock-screen images on the company's phones came from a variety of sources, licenced in a variety of ways, some of which could have been used by the brand's competitors.


By Sanni Siira, Lahti


Commissioning original imagery from students, shot using its phones, Harrigan explains, enables the company to "build up a bespoke range of images that we have complete clarity over" (Nokia buys the rights to the ‘digital entity' of each image to use on all its devices while students retain their copyright and are identified in the file name of each picture). The images are specifically shot to show off the phones' technical abilities and can also be tailored to local demands. So, for example, if a service provider in China would prefer local imagery to be installed on its phones, Harrigan will be able to provide that or, if such imagery doesn't exist as yet, will commission it via the network of university partners his team is building up.


By Sarah Jun, SVA


Nokia piloted the idea with students from Arts University Bournemouth and LCC but has now run the scheme with Lahti University of Applied Sciences in Finland, SVA in New York, China Central Academy of Fine Arts in Beijing and, most recently, Michaelis School of Fine Art at the University of Cape Town.

Nokia works with 20 students in each location. "All participate in a week long intensive content creation process. Each student is loaned a Nokia Lumia 1020 for the duration of the project," Harrigan explains. "We provide a creative brief that we share in an initial three hour workshop at the beginning of the project. Each student then has one week to shoot images for us as defined by our brief and references. During the week we have a series of workshops at the University to work ‘one on one' with the students, giving them advice on the direction of the imagery that they have captured and the direction that they are heading. My team is also on hand to advise on the features of the device and answer any technical queries.


By Leng Wen, China Central Academy of Fine Arts

"At the end of the week there is a final large sharing workshop, where we again meet with the students, review their images and then wind up the project. Once the images have been edited back here in the London design studio and all stakeholders have been consulted we then decide upon which images will be selected for use within our Nokia devices.

For each of the images we accept we pay a standard fee of €500 per image with no limit on how many images may be chosen from each individual student. The university receives a donation towards the faculty of €2500 to use as they wish."

By Denis Twerenbold, China Central Academy of Fine Arts


Harrigan is about to run what he calls Chapter Two of the project. In May, three students - one student each from New York, Beijing and Lahti - will come to London for a briefing before flying off to either Iceland, the Western Isles or Barcelona on assignment, armed with the latest Nokia phone. Nokia will be looking to buy €10,000 worth of images in total from the three of them.

Next, the project will extend beyond photography to textile design and animation. The Nokia team is working with students at the RCA to create physical textile designs which will be used as textural backgrounds on the phones. The animation students may either work in partnership with textile students to create moving image pieces together or create something on their own. Again, both students and faculties will be paid for their contributions.

More on Future Creatives here


Zhang Chao, China Central Academy of Fine Arts



The ghosts in the photographs

Posted: March 27th, 2014 | Author: Mark Sinclair | Filed under: Art, Photography | Comments Off


US artist Angela Deane's paintings on found photographs make for an intriguing series of portraits of ghostly figures – at home, at the game, even in the pool...


Noted via @alixmcalpine, Ghost Photographs is a series which explores, says Deane, "the beautiful, painful, and ultimately puzzling human condition of having memories. What are they? Can we retain them as experience?"

In each photograph the subjects are painted white, 'sheet ghost' style, with two black holes for eyes. Depending on the scene, and the postures of the people in the picture, the results can be oddly touching (haunting if you will) or just downright funny (see ghosts enjoying some biscuits, below).

Taking in the Game

Close-up of parade spectators in Untitled (Ghost Photograph no. 203) 2013, 6’x 9”

Untitled (Ghost Photograph no. 198), 2013, 4”x 6”

Untitled (Ghost Photograph no. 193), 2013, 6"x 8"

Untitled (Ghost Photograph no. 156), 2013, 4” x 6”

See the ongoing project at Deane's Tumblr, ghostphotographs.tumblr.com, or on her website here. Check out more of Deane's work at angeladeane.com.

Much stuff required for Stuff Matters cover

Posted: March 26th, 2014 | Author: Mark Sinclair | Filed under: Books, Photography | Comments Off

Penguin has revealed the process behind the making of its paperback cover for new book Stuff Matters by Mark Miodownik. It involved working with photographer Dan Tobin Smith and carefully arranging an awful lot of, well, stuff...

Stuff Matters documents the 'Strange Stories of the Marvellous Materials that Shape Our Man-made World' and features a cover filled with various objects grouped by colour.

Briefed by editor Will Hammond to "make the reader feel more in touch with the physical world around them, to make them grasp its materiality," the Penguin design team wanted to work with Tobin Smith because of his ability to turn intricate concepts into simple images, designer Richard Bravery told penguinblog.co.uk.

The brief interview explores the team's initial ideas and details the eventual two-day shoot – timelapse below – with Tobin Smith. More of Tobin Smith's work at dantobinsmith.com. Set design: Leila Latchin. Retouching: Martin Pryor.

Much stuff required for Stuff Matters cover

Posted: March 26th, 2014 | Author: Mark Sinclair | Filed under: Books, Photography | Comments Off

Penguin has revealed the process behind the making of its paperback cover for new book Stuff Matters by Mark Miodownik. It involved working with photographer Dan Tobin Smith and carefully arranging an awful lot of, well, stuff...

Stuff Matters documents the 'Strange Stories of the Marvellous Materials that Shape Our Man-made World' and features a cover filled with various objects grouped by colour.

Briefed by editor Will Hammond to "make the reader feel more in touch with the physical world around them, to make them grasp its materiality," the Penguin design team wanted to work with Tobin Smith because of his ability to turn intricate concepts into simple images, designer Richard Bravery told penguinblog.co.uk.

The brief interview explores the team's initial ideas and details the eventual two-day shoot – timelapse below – with Tobin Smith. More of Tobin Smith's work at dantobinsmith.com. Set design: Leila Latchin. Retouching: Martin Pryor.

The video of This is a Generic Brand Video

Posted: March 26th, 2014 | Author: Mark Sinclair | Filed under: Advertising, Digital, Photography | Comments Off

Published on McSweeney's Internet Tendency last month, Kendra Eash's satirical poem This is a Generic Brand Video has now been made into an actual video by a stock footage company...

In an interesting take on Eash's subject matter, stock footage providers Dissolve looked to their own database for every single cliché she describes in her poetic tribute to the 'brand video'.

Aping the kinds of signifiers which fill brand videos for all manner of companies, her poem opens: "We think first / Of vague words that are synonyms for progress / And pair them with footage of a high-speed train."

On their website Dissolve explain that "the minute we saw Kendra Eash's brilliant 'This Is a Generic Brand Video' on McSweeney's, we knew it was our moral imperative to make that generic brand video so. No surprise, we had all the footage."

They then found the right music – emotive piano – and, in Dallas McClain, a familiar sounding narrator for the video.

On Twitter, Eash has said she's delighted with the results, though one can't help feeling this is a bit of a bizarre self-promotional move from a company whose product is essentially the fuel for the satire – though the brands themselves are of course the acual target.

We've seen stock imagery providers as the target of jokes before – Women Laughing Alone With Salad being a highpoint – but never the providers themselves sending up how their visuals are routinely used and abused.

All the clips featured in the film are from dissolve.com.

Kendra Eash's original piece is published on McSweeney's (see more of her writing here), while Dissolve's film is on Vimeo here.

New site to give students a Hand

Posted: March 25th, 2014 | Author: Creative Review | Filed under: Art, Digital, Graphic Design, Illustration, Photography | Comments Off

A group of Kingston students led by Joshua Lake are launching an online exhibition space to bring together work from degree shows across the creative disciplines


With so many degree shows taking place each year, not all of them get the attention those participating might like. Lake's idea is to create an online exhibition space to aggregate work from degree shows in one place.

Hand launches in May and is "an online art and design gallery catering for students, individuals and groups across all art disciplines, creating space for inspiration, collaboration and discovery," the organisers say.

At present, the site is displaying a 'trailer' version but this does give some sense of how the fully-functional site will work. It will focus initially on degree shows but "in addition to student exhibitions, non-student shows will be featured on the site throughout the year," the organisers say.


Graduating students will be allowed to create an account and upload work from their exhibition to the site. More details on how to get involved at hand.gallery


Concept: Joshua Lake
Art direction: Oliver Long, Frederik Mahler-Anderson and FRancis North
Built by Frederik Mahler-Anderson
Copy: Jodie Edwards