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  • Alan Long’s guide to being a freelancer is a lifesaver

    A graphic designer who was born in the early 80s in London, Alan Long was destined to be creative. This British improvised his way through school as well as tap dance and ended up at university having sent his tutor an oversized photo of himself cut into smaller pieces (for their opening assignment).

    He graduated as a graphic designer, winning best portfolio in a group show and was snatched up working for a small design agency. There he honed in his skills whilst working for indie and pop artists as well as commercial projects (BT, Samsung, Brasserie Blanc, Loch Fyne). His thirst for unique ideas and an eye for design was soon recognised within the industry, and he set up his own award winning agency Sane & Able.

    Always enjoying bringing some fresh ideas into the spotlight, Long, graphic designer, manager and one of the people featured in the best selling book: #Lifechanger, turned his eye to writing by sharing his experiences in the creative industry. Having created a conversation between junior and more experienced creatives Long “felt he wanted to highlight that success can be very achievable with simple measures put in place” and his new book is a #lifesaver for many.

    In his “A-Z guide to being a freelance designer” Long shares with the reader some precious insider knowledge that he accumulated after being in the industry for over 10 years. “I’ve worked with many many clients and over countless campaigns ranging from overall brands, to websites, apps and logos. I’m not a world famous designer but hopefully things I have learnt will help you. I started in a small agency with the intention of learning as much as possible, and as quickly as possible”.

    Let Long enlighten you here


  • Get inspired with Marius Roosendaal’s distinct type experiments

    Fueled by curiosity Marius Roosendaal finds himself in a process of continuous iteration and experimentation as he is in a constant fascination by systems he searches for new and surprising connections. 

    Often with bold shapes and contrast, Roosendaal’s work is consistent and sophisticated as he aims to draw the viewer in using geometric plays, repetition and perspective, showing complexity within uncomplicated layouts.

    Currently the Design Director at AREA 17, New York Roosendaal is responsible for the creative output of interactive projects. His collection of type and lettering projects and explorations with techniques like stacking and extruding in various perspectives, such as isometric and axonometric - inspired by Takenobu Igarashi’s work- bring his bold, distinct aesthetic in the spotlight. Felling inspired already?

  • Documenta14’s no-rules visual identity is an experiment for four

    In this year's documenta14’s ground breaking visual identity which is provocative and intriguing, Vier5, Ludovic Balland, Laurenz Brunner & Julia Born, and Mevis & van Deursen are the four graphic design groups involved. It is worth noting that there was not one,  but four takes on the art venue’s identity, which this year had two parts, one in Athens and one in Kassel, with the second part of the exhibition already in full bloom.

    “While balancing two cities, two time-lines, and three languages is already complicated enough from a design perspective, curator Adam Szymczyk decided to add another layer of complexity to the event’s communications; inviting four studios to work on the design, and scrapping any notion of an overarching identity” reports AIGA’s Eye on Design. “They’ve been given no rules or guidelines from Szymczyk” adds the report on this very provocative experiment “that probes at the industry’s obsession with identity systems, and the way that identity is in thrall to marketing and branding”.

    “documenta’s true identity can be described as the sum of many different signs and meanings, as a process rather than a fixed reality” said Italian studio Leftloft which developed the previous documenta’s visual identity with this year’s venue taking the idea one step further.

    Check more on the four studios work which continue the investigation of “weakening the notion of an identity” here.

  • Enter Pouya Ahmadi’s black and white poetic newspaper with grace

    We are hardcore fans of Pouya Ahmadi, this award-winning graphic designer and art director based in Chicago who is having a great time bringing East and West together under his guidance.

    Working in the cultural and social field, collaborating with art/culture institutions and small businesses developing brand identities, printed matter, and publications Ahmadi’s newspaper for Festival of Poets Theatre is a beautiful, bold, black and white project which brings the words into the limelight.

    “Poets theater is a genre of porous borders, one that emerges about the same time, and involving many of the same artists, as performance art, performance poetry (“spoken word”), conceptual and “intermedia” art. But poets have long been playwrights, either primarily (Sophocles, Shakespeare) or as a platform for postmodern literary experimentation (the operas and page plays of Gertrude Stein, for example)” writes the Swiss-educated Chicago-based graphic designer, writer, and educator.


    Check more here

  • Johnson Witehira will bring Maori’s visual culture to the world

    Despite the continued progress made by Māori designers, New Zealand design culture is still largely homogeneous” reports Eye On Design’s Margaret Andersen before introducing us to the marvelous world of Johnson Witehira, a graphic designer and typographer “motivated to use his design practice to ‘actually change the visual landscape of New Zealand, and to create one that’s bicultural, rather than monocultural’”.

    An artist and designer of Tamahaki (Ngāti Hinekura), Ngā Puhi (Ngai-tū-te-auru), Ngāti Haua and New Zealand European descent Johnson Witehira graduated from the Whanganui School of Design in 2004, going on to complete his Masters in 2007. His interest in Māori art and design led him to Te Pūtahi-a-Toi (School of Maori Studies, Massey University) where he completed his doctorate in Māori design. In his research, Tārai Kōrero Toi: Articulating a Māori Design Language, Witehira developed a platform for contemporary Māori design practice through the exploration of traditional carving.

    Witehira’s work has a strong aesthetic that comes from combining traditional Maori form and pattern with ideas from graphic design and contemporary Western arts practice.

    Through his numerous projects he looks to develop indigenous and Maori design in the areas of typography, graphic, product, packaging and fashion design. He has also been involved in the development of Māori design education through teaching and the development of new Maori-centred design programmes.

    “In most attempts at Maori typeface design, designers have chosen to digitally revive painted and carved Maori type, or they have simply transposed Maori forms, such as the koru, onto alphabet characters. In contrast to these approaches, Whakarare is built from the ground up with the focus being on the creation of wholly new forms” writes Witehira on his Whakarare typeface.

    “Thus, while referencing Maori aesthetics and studies of Maori typographic preferences, each letter was created from hand-drawn originals. Maori typographic preferences seen in Whakarare include the use of high contrast between strokes, an emphasis on the vertical stress, and the use of an irregularly high x-height. The use of macrons to indicate long-vowels was also an important aspect of the typeface” he adds.

    Be a part of his heritage here