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  • Leeds United reconsiders its new crest after major social media backlash

    “We conducted thorough research into the desire for a change to the crest to symbolise a new era for the club. However, we also appreciate the need to extend the consultation with supporters and we are committed to working with you to create an identity we can all be proud of” reads the latest statement of the renowned football club in the graphic design drama which exploded upon the release of Leeds United new crest.

    Inspired by the football club’s song Marching on Together the badge has been redesigned ahead of the club’s 100th anniversary in 2019. Hence the result of a six-month consultation period with over 10,000 people has disappointed many.

    “As we approach the centenary we asked what the future means to [fans],” says Leeds United. “It has become abundantly clear that the fans are ready to herald in a new era. It is also clear that the current crest represents a turbulent and largely unsuccessful period in the club’s history.”

    Per managing director Angus Kinnear the badge aims to reflect the idea of “strength in unity. Once we heard that there was a desire for change to help herald a new era for the club, it became of primary importance that the new crest clearly reflected who we are.”

    The badge retains the blue and yellow team colours, but ditches the white rose symbol and “unrecognisable” LUFC logotype seen previously, says the club. Instead, Leeds United is now written out in full, and the crest depicts a person placing their right hand on their chest.

    The hand symbol is known as the “Leeds Salute”, and is often done by fans on match days while singing the club’s song Marching on Together.

    Leeds United has not confirmed at the time of publishing whether it worked with any design consultancies on the rebrand reports DesignWeek. The new crest will be rolled out during the 2018-2019 football season.

     

    31Jan
  • Blaqk's fifth solo show captures the moment for Temporary Duplex

    "In the particular series of artworks we have used two different elements that co-complement and co-balance each other" notes artist duo Blaqk on their fifth solo show entitled Capturing the Moment which concludes the exhibition programme of Temporary Duplex. "The three pieces in the Lockers space create a balance and function in a supportive way, while the larger-scale mural in the Laundry space is linked with the canvas pieces, forming a single composition that for us, expresses notions such as movement, repetition along with the very moment of their creation" adds the renowned duo of their synergy with curator Andreas Fakis.

    "The exhibition Capturing the Moment consists of art pieces of the artist Duo that are being presented for the first time and belong in a new period, which acquires its key characteristics through the experiential experience of the creators themselves. A procedure that arises thanks to the non-segregation of personal and professional time; of calligraphy and geometry, from their other activities. The simplicity, the balance, the self containment, the complementarity and other notions of a more fluid sense that are embedded in Blaqk’s work, come to life in this way" adds Fakis. 

    Blaqk consist of Greg Papagrigoriou (1986, Athens) and Chris Tzaferos (1985, Chalcis). Since 2011, they have a presence in public space as a duo and have presented large scale pieces in Gdynia, Sicily, Valencia, Rome and Munich.

    Temporary Duplex is on through 11 February. More info here

    29Jan
  • Designer and Art Director Bryan Rivera wants to be involved

    “Born and bred in New York City, Bryan Rivera’s work is full of gritty energy, incorporating textural elements, manipulated imagery and decorative type all in a colour palette of dark tones and primary colours” writes It’s Nice That of the New Jersey based designer who has worked on projects for Post Malone, Kanye West and Kim Kardashian.

    Rivera “began scribbling in notebooks and creating graffiti inspired MySpace layouts” and he is a full time designer and art director ready to be involved. “Whether it’s a book for a photographer or an album cover for a musician, I want the images to fit their world and feel like something special” he says. 

    Read his profile here

    23Jan
  • Anfalov΄s homage to the anti-communist electronic music studio

    “The Cold War was a time where the global superpowers divided the world on all fronts: science, technology but also culture” says Hannover-based graphic designer and art director Yevgeniy Anfalov of his recent book “Rotary. History of the studio for electronic music WDR 1951–1981” to It’s Nice That. “I hadn’t seen any contemporary books on this topic, so I decided to begin researching it, thinking about making this lesser-known story more accessible for a broader audience,” he adds.

    Born in Kiev, Ukraine Yevgeniy Anfalov moved in 2003 to Germany, where he studied Visual Communication at Hannover University of Applied Sciences and Arts and graduated in 2012. In 2015–17 he has been studying Art Direction in Master programm at ÉCAL, Lausanne with the major in type design, supervised by François Rappo and Kai Bernau. His graduation book project on history of electronic music "Rotary: Geschichte des Studios für elektronische Musik WDR Köln 1951–81" has obtained an award of excellence.

    Discover his portfolio here.

    and read the rest of his interview to It’s Nice That here.

    19Jan
  • Past & present collide in Book Book Studio's latest Offset printed project

    “From their Berlin-based design studio, the team at Book Book engage in hands-on experimentation with a collection of small-format printing presses, testing the creative potential of a technology long considered obsolete” writes Grafik’s Anna Lisa Reynolds in her feature on Book Book Studio’s latest project.

    Jan Blessing, Constanze Hein, and Felix Walser are fascinated “with the near-obsolete world of small format printers and duplicators, and in particular, their prized Roto/Rotaprint 625 Office-Offset presses” which they used to print "Im Gebirge" ('In the Mountains’) by Anna Grass, an obsolete hardback book entirely in-house. 

    “When Grass’ desire to publish something from her old hiking journals was mentioned to the team, it seemed that the ideal subject had presented itself for their book-based labour of love: a deeply personal project, with an independent spirit at the heart of its subject matter, and a connection to the past” writes Reynolds. “Book Book’s work with outdated devices such as the Roto/Rotaprint 625 might, at first glance, seem to be a print-lover’s exercise in nostalgia for a machine whose original function has been superseded by newer technology. Yet projects like Im Gebirge demonstrate the ways in which these older pieces of kit can be reappropriated and subverted to create new outcomes” she adds. 

    Office-Offset printing isn’t lost, it’s still out there, and it’s now possible to use it as an artistic medium – to take that machinery and directly interfere with the process in quite a direct, analog way. To continue that thought of combining modern technology with historical technology, and to bring those together is the idea behind our experimental space. If you look back to the time when lithography, the ancestor of the offset print, was still the main commercial printing technique, no-one thought of it as an artistic medium” says Blessing. 

    Enter Book Book’s adventure here .

    17Jan