Uniform Wares: Series Mailers / Stationery / Gift Vouchers
Uniform Wares design and produce timepieces based around a philosophy that is firmly rooted in classic British design and contemporary styling. Their wristwatches are intended for everyday use by individuals with an eye for meticulous detailing and a passion for diligent, modern design.
Six worked closely with Uniform Wares to create a series of promotional mailers to be distributed at the Capsule Men’s show in New York (and later through their stockists), along with a redesign of their existing stationery suite. Templates for letterheads, invoices and delivery notes were designed to be integrated within the back end system of their forthcoming website. Six were also asked to produce a range of watch box inserts, gift vouchers and supporting gift wrap materials.
All of the printed collateral has been designed to reflect the simplicity of the companies pared-down aesthetic. Highlighted by the subtle use of the identity, applied in a grey, gun metal foil across a sophisticated dark grey colour palette and applied using an off-white foil on the letterhead.
The mailer itself is printed on a premium, smooth, coated stock to contrast the dark grey, uncoated belly band which is capable of holding a single series mailer. A further belly band with a spine was created with the capacity to hold all the series mailers. The ability to hand out the series mailers individually or as a collection was an important factor within the design. The promotional literature needed to be flexible and react to the way individual stockists buy into certain ranges which suit their products and audience.
Once the belly band has been removed, each mailer is bookended with the line artwork for the front and the back of the relevant watch. The mailer then opens like a book revealing a short history behind the company, the inspiration behind the series and information about the straps and watch finishes. Finally it opens out to A2 revealing lifestyle and closeup imagery of the range alongside the technical specifications for the series. Once opened out it can be used as a print which can be pinned to the wall. Each series mailer incorporates the range colour and a metallic silver is used as a subtle reference to production materials and engineered surface finishes found within the product.
Typefaces Used: FG Uniform-Medium198 (Uniform Wares Logotype), FG Uniform-SmallCaps198, FG Uniform-Text
Kirschner is a cycling apparel brand hailing from Santa Catarina, Brazil. As a start-up, they required everything from a name and identity, right through to the apparel design and promotional collateral.
The final logo and overall direction was designed to convey a contemporary brand that recognised and celebrated the pedigree at the root of the sport. The modern styling with vintage nuances give the brand its own unique identity within an increasingly competitive market.
Paul Calver was appointed as lifestyle photographer and videographer, completing the visual direction for the Kirschner brand.
Typefaces Used: Champion, Modern 216
A Few Words from the Editor
In the tradition of ‘Less is More’ (asserted by the legend that is Mies van der Rohe) today’s Friday Special features 1 recent and 1 brand new project from UK based creative consultancy Six, the design director’s of which just so happen to be (in no particular order) the talented Mr Darren Firth and the talented Mr Iain Follett ;)
Big thank you once again to Darren and Iain for making this feature possible and let’s not forget the Uniform Wares Exclusive! I hope you (dear SI reader) enjoyed this feature and I bade you a great weekend. PS. Thank you for all the kind words on Twitter, much appreciated as always :)
ADDITIONAL LINK WORTH CHECKING OUT
Award winning theatre company Slung Low has created five new performance pieces for five North Yorkshire Festivals. A series of new pieces based on the novel The Ground Remembers by Matthew David Scott. Set in unusual and unique locations, the shows re-examine how audiences go and see a piece of theatre.
The creative solution explores the notion of ‘real magic’ and plays on the common water theme through refraction. Working with Mezz Davies, a combination of site specific location photography and studio shots were captured. Layers of sediment are suggested through the use of stacked typography, line work and photography. Fenner Paper helped to make effective use of budgets and stocks. Evolution Print produced the promotional print utilising die and laser cuts.
Converging Paths plays in 4 more festivals this year. www.convergingpaths.co.uk
Leeds Inspired is part of the Leeds City Council Olympics Cultural Programme but will run beyond the 2012 games. The web element is designed to bring arts, cultural, digital, community and social events together in one place for the first time in a listing site curated by multiple event organisers. The idea is to make this information available as a plug-in for other sites promoting Leeds and to incorporate independent comment and news.
Leeds Inspired allows users to search and promote events and access funding for cultural activities in 2012 and beyond. An accessible and inclusive solution needed to communicate the Leeds Inspired values and vision to an extremely diverse audience without alienating or risking a snubbing from the cultural elite. Kilo 75 defined the user experience and built the site.
The Leeds Inspired site is has launched for beta testing. www.leedsinspired.co.uk
Working in collaboration with We Love Technology, Leeds Galleries and Museums and young people from the region, Mobile Museum used creative writing and mobile phones to help young people make new connections with the objects on display across the different galleries and museums throughout the city. Newspapers with content part created by the youth groups, along with maps, napkins and a labelling a system were created to engage children, young people and families and encouraged them to read, write and share poems through the use of mobile phones.
To celebrate the 25th anniversary, an identity and print promotion was commissioned by the Northern School of Contemporary Dance. Having worked closely with NSCD since 2006, it was a great opportunity to re-visit some of the promotional material created over the past years. Working primarily with NSCD’s photography archive and recent brand photography by Chris Nash, an identity was developed and applied to invites, posters, banners, programmes and posters.
A Few Words from the Editor
I have three fairly large updates to push out today, so the ‘few words from the editor’ section of each feature will be fairly sparse — It’s not like anyone reads this section anyway ;).
Thank you once again to Lee for making this feature possible and for the kind words and support :)
A magazine and website for John Kenney &, a photo agency.
Typefaces: Custom, Titling Gothic, Chalet
Elements of the identity for BLK DNM, a new fashion label from Johan Lindeberg. Custom type for a spread from the BLK DNM Gazette.
Typefaces Used: Franklin Gothic, Typewriter Elite
TRUE & CO.
Logo/identity for an online lingerie store.
Typefaces Used: Custom, Gotham
BOBBY FISCHER | HARRY BENSON
A book of photographs by Harry Benson of the chess legend Bobby Fischer.
Typefaces Used: Tungsten, Century Schoolbook
TOWERS OF POWER
A series of oversize match boxes with motivational messages.
Exhibition featuring a series of 4 large-format prints.
DIA: FALL GALA 2011
Invitation for Dia Art Foundation’s annual Gala.
Typefaces Used: Akzidenz Grotesk
Identity for a New York Pretzel bakery.
Typefaces Used: Gloucester, Clarendon
Identity and stationery for photographer Dylan Coulter.
Exhibition design for AIGA’s 50 Books 50 Covers competition.
Typefaces Used: Custom, Nomo
Identity and packaging for Schmidt Brothers Cutlery.
Typefaces Used: Futura, Ironclad
BEST OF NEW YORK
One of a series of custom type treatments for New York Magazine’s “Best of New York” issue.
Catalog for an exhibition of albums and ephemera from the band Crass.
Typeface Used: Courier
Custom lettering for the international campaign for Stella Artois’ Cidre.
Designed by Triboro for Mother, London.
AI WEIWEI — CIRCLE OF ANIMALS
Book on the artist Ai Weiwei.
Typefaces Used: Miller, Gotham and Custom
Identity/Business cards for a marketing agency.
A Few Words from the Editor
Friday’s SI Special goes up a little earlier than usual—a day early which technically makes it a Thursday SI Special—but I’m sure none of you (dear SI readers) are complaining! In the spotlight today is one of Brooklyn, NYC’s finest: Triboro Design. I’ve made it no secret on SI that I hold what David and Stefanie do in high regard and interestingly enough I even had the pleasure of working with them last year. With that said, they’ve finally got round to updating their portfolio with what can only be described as a diverse collection of beautifully crafted work. It should be noted that Triboro don’t rely too heavily on text to explain their work preferring that the images do most of the talking instead :)
Big shout out once again to David for spending his nights sorting/resizing/selecting all the images for the feature ;)
ADDITIONAL LINKS WORTH CHECKING OUT
Australian design firm, End of Work, created this wonderful identity for a coal mine called Mangoola. I never imagined that a coal mine could have such beautiful print material. They explain:
Mangoola is a coal mine situated in Australia. “Mangoola” is thought to mean “black cockatoo” in Aboriginal language. The Cockatoo is a native bird to Australia. Using the name’s meaning as inspiration Sydney based studio End of Work created beautiful print pieces to represent the the feathers of a bird and the strata layers of the earth. This was achieved through a large foil blocked pattern, and laser cutting paper. Launch invitations, Commemorative books, brochures, cards and stationery was produced on black Notturno paper stock.
Henry Wilson is an internationally respected young Australian Product Designer, with an ever-increasing profile in Europe, Australia, the UK and US. His practice is built around his belief that design should respond to a real need, an ethos we were keen to reflect in his identity. The brandmark was designed to reflect the crafted yet utilitarian nature of his products, where form and function coexist in harmony. We designed it to remain ledgible regardless of reproduction techniques. Whether it be stamped, embossed, or created with a branding iron, it retains its strength and identity while simultaneously absorbing the characteristics of whatever it is applied to.
Typography: Lineto’s Type Foundry’s Lettera & Klim Type Foundry’s Founders Grotesk
To coincide with the launch of their new business handsets Nokia wanted to create a digital book celebrating the achievements of a select number of Australian entrepreneurs. We saw the bespoke nature of the brief as an opportunity to break away from Nokia’s traditional visual communication style and create a vibrant and friendly handbook filled with illustrated anecdotes and advice. Editorial in style, the book was designed to be approachable and compelling.
Typography: Kilm Type Foundry’s Feijoa, Lineto’s Type Foundry’s Akkurat & Fontsmith Type Foundry’s FS Sammy
Meanwhile is a new menswear boutique located in the exclusive Kings Cross Hills of Sydney. Stocking the finest Australian labels alongside such international greats as Dries Van Noten, Whyred and Dana Lee, Meanwhile is a most welcome addition to Sydney retail in general, menswear specifically. We created an identity using only inked hand stamps, making it cost effective and low maintenance, whilst still retaining the considered craftsmanship that Meanwhile represents. The Brandmark itself is the joining of an M and a W forming one icon that alludes to a tailors stitch.
Typography: Kilm Type Foundry’s Feijoa & URW++ Type Foundry’s URW Grotesk
New Identity, packaging and print for the handmade chopping board that possess a special feature; an edge which you use to gather and slide chopped food off. The edge prevents the inevitable spill associated with traditional flat boards and so became the key focus of the brand, through naming and application.
The brandmark is based on this feature, and is only fully revealed when placed around a corner. In this way we were able to create a brand that truly reflects the product, and its point of difference in the market, and hopefully engineer a sense of discovery; that ‘aha!’ monument that makes an identity stand out.
The natural anti-bacterial, sustainable wood sourced form the Byron Shire is also used throughout packaging and stationary further adding to the tactile impact of the product.
Typography: Bauer Type Foundry’s Futura & URW++ Type Foundry’s URW Grotesk
Washed Up is a personal project by photographer Sean Izzard, exploring the flotsam and jetsam exposed and framed by the sands of Australia’s beaches. We used a broken grid to lay out a selection of his images, as well as designing a custom piece of typography to reflect the elegant simplicity of Sean’s photos. Limited to only 200 prints, the poster was sent out to a number of studios and agency’s, leading to a dramatic increase in work offers for Sean following distribution.
Typography: Custom & Monotype’s Plantin
SoHi is a contemporary lifestyle magazine showcasing the creative, art and fashion scene in the NSW Southern Highlands. We created the corporate branding and art direction for the print and digital publication, and continue to work with SoHi acting as brand guardian across all design content. Our design solution is visually clean and simple, to reflect the core values of the brand: Inclusive, Relaxed, Community.
Printed in a limited edition run of 2000 per issue, it has not only been embraced by locals and creatives, but the design has resonated globally including an interview in UK Grafik Magazine and a feature in Magnation where it was selected by Kate Bezar as her number one magazine…
Typography: Monotype’s Plantin & Linotype’s Helvetica Neue
A Few Words from the Editor
It’s been quite a while since I’ve featured anything for the land of down under, which why I’ve gone ahead and featured the work of Maud, a multi-disciplinary studio based in Sydney (more information about the studio can be found in the usual place below). Suffice to say, studio’s like Maud are yet more proof of Australia’s thriving design-scene and I certainly hope to feature more talent from Australasia (no, that isn’t a typo) in the near future :). Thank you once again to Mr David Park for making this feature possible.
About the Studio
Maud is a D&AD award winning design studio based in Sydney, Australia. As passionate about the core idea as the images they create, Maud continually strive for creative excellence through consultation, collaboration and detailed execution, tailoring a strategic process for each and every client they work with to deliver effective and creative communication. Whilst there are many multi-disciplined thinkers out there, Maud has the skills and team to execute their ideas across print, motion and online.
Laughing Man — Identity/Stationery/Packaging/Website/Architecture
We were asked to develop a brand, identity, packaging, website and retail store for Laughing Man Worldwide, a charitable organization set up by Hugh Jackman, whose first venture was to be the sale and distribution of coffee and tea. Albeit focused on the premium quality of the product, a secondary subtle undertone of social conscience was required.
Established wanted to convey the Laughing Man brand’s core spirit of ‘all be happy’ with a collection of packaging that was at once gourmet, joyful and modern. The product’s quality credentials called for luxury, so a silver and grey color palette and clean typography were used. Meanwhile the custom chalk type graphics used across the brand connote the idea of a hand-finished barista quality. The casually applied, unique laughing face stickers on each product are designed to reflect the universal nature of laughter, goodness and ethical-mindedness, which are fundamental to the Laughing Man brand.
The concept of constantly changing stickers also invites the consumer to interact with the brand directly by uploading their own laughing face on the website, for a chance to be used on future packaging.
The overall aim was to create a brand that broke the mold of ethically responsible products being packaged in a rustic, hessian and often ugly way. Laughing Man aimed to be a product that would look at home on the shelves of a luxury food hall as well as on a supermarket shelf.
Typefaces Used: Houschka Alt Bold, Foco Bold, Landry Gothic and Laughing Man Regular (Custom)
Round Hill Music — Identity/Art Direction/Website
We were asked to design a brand, identity and website for a boutique music rights management company with a very high profile catalogue of product, including artists such as The Beatles.
Established wanted to illustrate the diverse qualities of the company; namely, its trustworthiness as a serious financial business and also its emerging reputation as be an artist-friendly home of music management, in contrast to the corporate powerhouses that form their main competition. The layout of the type and the way it is formatted on the page evokes a classic, old school feel. Meanwhile, the use of a piece of bright pink masking tape across the logo refers to tape’s common use in all aspects of the music industry, from notes on a grand piano to markings on a recording studioís mixing board to taping plectrums on the microphones during a live gig or damping snare drums.
Established created a library of computer-generated images for the company to use in all aspects of its business dealings that playfully show the pink tape in its multitude of uses in the music industry, thereby giving Round Hill an instantly recognizable brand icon which illustrates its music industry insider credentials in a very premium way.
Typefaces Used: Signal No1 D and Blair ITC Light
Bar Milano — Identity
Typeface Used: Futura Bold
Aschen and Voss — Identity
Typefaces Used: Garage Gothic Bold, Galaxy Polaris Light and Garamond Regular
Brooks Brothers — Brand Brook
Typefaces Used: Redrawing of the logo and various weights of Gotham
Brooks Brothers — Existing Collection Packaging
Typeface Used: Various weights of Gotham
Joh Bailey — Identity/Stationery/Packaging/Architecture
Typeface Used: Gotham Black
Pack Back Fleece — Packaging
Typeface Used: Too small for me to make out… ;)
A Few Words from the Editor
This past month I’ve probably been the busiest I’ve ever been, hence the occasional ‘bi-weekly’ wait for new updates. For the record ‘bi-weekly’ can mean twice a week or every 2 weeks ;) Nevertheless, it’s Friday which can only mean one thing: SI Special with plenty of high-res imagery! The studio that has been given the “SI treatment” today is Established a multi-disciplinary studio based in NYC. Not only is it great to feature more talent from the States but this studio may come as a pleasant surprise to those of you who were previously not acquainted with their work. Enjoy :)
Big thank you once again to Sam and Felix for supporting SI and of course for making this feature possible.
About the Studio
Founded in 2005 by British designer Sam O’Donahue and Becky Jones, Established is a full-service, boutique, creative agency based in New York that offers architectural, graphic and product design all under one roof.
Coming from a self-confessed post-it-noter (check out my carbon footprint yo) these are pretty damn cool. Obviously you wouldn’t just go around using these willy-nilly, oh no. These are for special occasions, the birthday post it for example. Or maybe for drawing a willy on and attaching to a colleague’s computer screen/back. YOU CAN’T JUST WRITE ANYTHING ON THEM! If I see even one nacho post it with ‘need milk’ written on it I’m going to fucking flip out.
Since its launch in 2004, the Nooka logo has been increasing in boldness for reasons of legibility. Unlike most corporate logos in which the artwork needs to be legible at 25mm, the Nooka logo needs to be legible at about half that, sometimes less. The solution was two-fold. One—to increase boldness for maximum legibility both small and large sizes, and two—to simplify the letterforms to better express our ethos. Along with these changes, subtle details were also introduced to make the Nooka logotype more visually pleasing.
Aside from the increase in weight, the infinity sign remains a constant in our visual identity – representing the infinite possibilities the future has to offer. We introduced rounded corners on both the “N” and “A” to compliment this shape. The top of the “N” has a 90 degree corner that juxtaposes the round corners and calls point of entry to begin reading the logo. The simplification of the “A” by removing the cross-bar is meant to evoke a future beyond the planet earth.
Nooka is a global brand. Our products—through wide distribution—must maintain a consistent brand image. We eliminated our existing bulky packaging and introduced a sleek, mylar bag. These mylar bags come in three sizes—which allow universal use for a multitude of products. In addition to eliminating bulk, we stopped using acrylic stands for our watches. Instead we introduced corrugated cardboard pieces which ship flat—and fold when needed to display our watches.
Nooka is a global brand, with a growing number of distributors, business relationships and retailers worldwide. Much thought went into how we can create a system that can function in multiple regions yet maintain Nooka identity. The solution was to stamp paper blanks which could later be customized upon requests. By pre-stamping blanks at a high number, we save time and money by having ready-made materials.
The Nooka system is created of paper stock with our logo stamped in silver foil. The branded stock allows us to create any changes that occur with moving, adding people, different office locations, etc. Communications can then be printed, either digitally or by offset, by following our templates to ensure brand consistency. Like the letterhead, Stamped blanks allow for later customization for our distributors worldwide. This truly universal system allows full customization while maintaining a global identity.
Brand Guidelines Poster
In place of cumbersome guidelines, we developed a poster which can be distributed digitally as an interactive pdf and can be printed at large ISO sizes. Each image on the pdf is a direct download for all basic brand assets—such as logo, typeface, stationary—to use on their own.
Being that Nooka describes it’s working area as a LAB, an internal system was needed to keep consistency as well as create an aesthetic that represents this cconcept. In keeping with efficiency, a grid system was developed which allows easy customization to a wide-array of medias that are requested. These documents are for internal use and distributors, yet allow for a consistent brand aesthetic throughout.
The Nooka logo will be applied to all new products with sizes ranging from the micro to macro.
Universal Instruction Manuals
Being a global brand, Nooka is constantly confronted with translating materials for specific languages. One of Nooka’s core values is universal communication. With that value in mind, we went out to create a universal system to be applied to our instruction manuals—one that eliminates most uses of text as well as works for a wide range of products. Using symbols and illustrations, a key was developed to give users a reference when learning how to use their watch.
Based on ISO dimensions, the manuals were developed to be printed as a small manual as well as a large A0 poster. These posters would be used for retail and trade shows to get customers more familiar with Nooka.
Printed in Pantone 812C, these one color manuals are a cheaper solution to a four color process.
The story of NOOKA
Shot on a 5d and Zazza Slider—this is the story of Nooka—a New York based futurist brand. Founded by artist/designer Matthew Waldman, the ethos of Nooka is universal communication,which guides the creation of products with enhanced functionality that engage the mind as well as the body—mindstyle™.
Most prominently known for its line of timepieces, Nooka has expanded their range, creating a
Mindstyle™ brand with the addition of innovative accessories and a fragrance.
Direction/Editing: Jon Patterson
Filming: Patrick Phillips
Soundtrack: Com Truise
Nooka Design Team
Senior Designer: Jon Patterson
Creative Director: Matthew Waldman
Industrial Design: Alexander Yoo/ Michael Ubbesen
A Few Words from the Editor
As I write this there are just 8 days until 2012; I’m sitting here wondering what happened to the rest of 2011! Time really does fly doesn’t it? To end the year right I thought I’d feature something a little different from what I usually feature — different in the sense that whilst it’s still conventional graphic design, it was done completely in-house by the NOOKA Design team as opposed to a rebrand from an external studio/agency.
Lead designer Jon (who just so happens to be a big fan of SI — thank you sir!) got in touch a week ago informing me that NOOKA had just relaunched a rebrand (complete with universal instruction manuals) and had recently finished gathering all the assets for yours truly to review and potentially feature on the site. Bit of a no-brainer really ;)
Thank you once again to Jon and the rest of the cool cats at NOOKA for making this feature possible, and I wish all the lovely readers of SI a Merry Christmas and a Happy New Year. Thank you for continuing to support this site (I couldn’t appreciate it more) and I’ll be back in January with your weekly dose of visual crack ;) I also have rather large plans for this site next year so stay tuned…
Identity / Stationery / Brochure / Website / Advertising / Marketing
Based on our experience of the luxury travel sector, our client came to us with an idea for a boutique travel company that offered tailored travel in exclusive style. As well as naming the company, we produced an identity and supporting material that emphasised the ‘blank canvas’ approach of the company. Acting as the lynchpin of the brand, the brochure is an inspirational guide to the world’s most luxurious and unique destinations.
Land Securities Wellington House
Identity / Brochure / Website / Marketing & Exhibition Materials
Even in the heart of London some addresses stand out. Wellington House, situated
on Buckingham Gate, a few hundred yards from St James’s Park and Buckingham Palace
is one of them. We were appointed to deliver an identity and a comprehensive set of marketing materials by Land Securities.
The logo was applied to a number of materials and combined with a variety of finishes to create a truly unique identity. These included etching key messages on samples of the stone being used on the building itself, which we then photographed and incorporated into the designs. The marketing brochure is presented in a beautiful, laser-cut slipcase.
Display Face: Custom (inspired by Neu Alphabet)
Tang Dynasty Diary
We were approached by a renowned art collector to produce a presentation diary showcasing the private collection of precious cups from the Tang Dynasty. Celebrating the new decade, the diary needed to present their annual calendar in a way that was both functional and a highly collectible item in its own right. The solution was a diary that doubles up as a beautiful art book. Each month highlights an individual cup, with high gloss images detailing these beautiful 7th/8th century objects.
The case-bound book was hand finished with the glossy pages tipped in to the book block and decorated with ribbon page markers. It was delivered in a magnificent presentation box containing a decorative pencil and accompanying laser cut card.
Typeface: Modern 880
As part of our re-branding process, a test sheet, exploring colour, typography & layout was produced. Ever the conservationists, whilst rebranding ourselves, we turned the test sheet process into the perfect opportunity announce our new identity to the world. By using the reverse side, we created a poster that was sent out to past, present and future clients. Showing off our commitment to print & attention to detail, the poster perfectly summed up our ethos.
Identity / Brochure / Marketing Material
Westcity Wates asked us to design a book to celebrate the completion of their latest landmark development. The book is structured around the characteristics of the building. Imagery is divided into Light+Space, reflecting the physicality of the building, and Form+Soul, focusing on architectural details and finishing. The typography ranges up and down the page, informing the reader as to which levels within the house the images are from.
The 148 page casebound book features a number of high quality finishes: Externally, the spine was left on show connecting the cover with the cloth end papers, while the blind-embossed cover was both bold and restrained. Internally there was a metallic ink overprinted throughout. This was used as a graphic treatment throughout the book, evoking the light that permeates the building so beautifully.
Identity / Brochure / Website
The Roundhouse founders come from an architectural background, which taught them to value independent thinking and innovative solutions to design issues. Building on the success of our 2006 re-branding, we embarked on producing an image based, 100 page look-book.
A sense of confidence was built through minimal layout, conversational copy and attention to detail. Coated paper embellished the beautifully shot case studies, while the small information section was printed in the two brand colours on a tactile uncoated stock. Production values were extremely high and the cloth covered case bound tome was finished with foiled details to both sides.
Following the successful completion of the look-book, we have recently designed & launched the new Roundhouse website.
Typeface: Century Schoolbook
From the Editor
Making their SI debut this week with a brand new website and a clear, considered selection of new work is Ideas Factory, a London based studio who have carved a niche out for themselves in the lifestyle and property sectors. In their own words: “We’re not big, but our ideas are. Over our 25 year life-span, we have chosen independence and integrity over expansion and commercialism. Our approach to our business is one of collaboration, not opposition. Rather than employ accounts staff, our clients deal direct with designers,so they become part of the creative process, not a spectator.”
Thank you once again to Mr. Jonathan Davies @ Ideas Factory for the imagery and info. Hope you (dear SI reader) enjoyed this feature and have a great weekend :)