“The Guardian has an almost 200-year history of producing journalism which inspires hope. Our new campaign aims to turn that feeling into action” notes Anna Bateson of The Guardian's latest brand campaign which aims to inspire readers to support Guardian journalism with its bold creative approach.
The campaign’s central message, “Hope is Power”, is inspired by The Guardian's editor-in-chief Katharine Viner’s essay ‘A mission for journalism in a time of crisis’ and the campaign highlights the Guardian’s purpose to “not only hold power to account, but to explore new ways of doing things, bringing new ideas to the table and giving people the facts to challenge the status quo.”
For the British news outlet the message 'Hope is Power' “feels relevant and urgent in these disorientating times. It’s a message we can all rally behind.”
Hope is Power is the Guardian's first brand campaign in seven years.
The campaign is a collaboration between the Guardian’s brand, marketing and editorial teams. Uncommon London led on creative development, PHD led on media planning and buying, and Pentagram developed the initial brand positioning.
The campaign’s short film, which will run as an advert in cinema, television or video-on-demand platforms, is directed by Academy Award-winning director James Marsh, known for his Stephen Hawking biopic, The Theory of Everything.
In addition to the film, the campaign features “bright and powerful statements” which will be posted online and in locations across the UK, US and Australia.
“After more than 100 years of living with the immense pedagogical impact of the Bauhaus we believe it’s time to question and investigate this important, but now dated framework that has largely defined design and design education” notesLetterform Archive of its recently announced “It’s Time to Throw the Bauhaus Under the Bus” workshop.
“As the first art and design school to directly tie the classroom experience to a professional orientation (read workshop), it is high time for a rethinking and remaking of the academic design studio into a 21st-century model. We are particularly interested in interrogating the colonial lineages of 20th-century formal aesthetics and structures for making. This workshop explores breaking habits, structures, and models of thought that have become canonized, systematized, and ingrained as the way to make work. We are encouraging you to make from a personal place that engages and tells stories — that forms can inheritunconventionalways for designers and people to share, inform, and live” add SilasMunro and RamonTejada, the duet responsible for this Bauhaus inspired weekend.
Silas Munro engages multi-modal practices that inspire people to elevate themselves and improve society. Munro’s design studio Poly-Mode has designed identities and publications for exhibitions of Jacob Lawrence at MoMA, MarkBradford at the VeniceBiennale, and forthcoming commissions, The Great Force for the ICA at VCU in 2019 and Willi Smith: Street Couture for the CooperHewitt in 2020. Munro’s writing appears in Slanted, the WalkerReader, and the book W. E. B. Du Bois’s Data Portraits: Visualizing Black America.
He is particularly interested in the often unaddressed post-colonial relationship between design and marginalized communities. Munro has shown in juried group shows at CalArts and RISD. He has served as a critic at CalArts, MICA, VCU, and Yale. Munro is Assistant Professor at OtisCollege of ArtandDesign and Advisor and ChairEmeritus at VermontCollege of FineArts. He has earned a Design fellowship at the Walker Art Center, been a Designer-in-Residence at NC State, and DesignDirector at HousingWorks.
Next month @siborg81 and Ramon Tejada will lead a workshop that interrogates the Bauhaus by breaking habits, structures, and models of thought that have become systematized as a way to make work. Students will explore 2D, 3D, and 4D formats. Register: https://t.co/n1Li14Wfatpic.twitter.com/TQBa3H2SE7
Ramon Tejada is an independent Dominican/Americandesigner and teacher based in Providence, RI. He works in a hybrid design/teaching practice focusing on collaboration. Ramon is an AssistantProfessor at RISD in Providence. His recent design research interest lies in the areas of disruption of the Design Canon, inclusivity, diversity, collaboration and the expansion and openings of designnarratives and languages beyond the “traditional” Westernized paradigm of design.
He has taught in the graduate MFA Communication Design program at Pratt Institute; as well as at the undergraduate level at Parsons/The New School, in the MA at the MinneapolisCollegeofArt&Design(MCAD) and at CUNY–QueensCollege. He received an MFA in Graphic Design from Otis College ofArt and Design in Los Angeles, and an MFA in PerformanceArts from BenningtonCollege.
As noted the experiments and explorations occur in 2D, 3D, and 4D formats with a particular focus on the makeup of Letterform Archive and ways to support more inclusion and a range of typographic voices in the LA collection.
“It’s Time to Throw the Bauhaus Under the Bus” workshop at Letterform Archive with Silas Munro and Ramon Tejada goes live at the Type West Public Workshop on the 26th and the 27th weekend of October. All images via Letterform Archive
American rapperMachine Gun Kelly aka ColsonBaker decided to challenge the Twitterverse and things got pretty weird instantly.
As Creative Bloq reports the rapper has been “inundated with jokes and memes after he asked his Twitter followers to design him a new logo.”
Promising an undisclosed sum of money for the creative who will come up for MGK's logo redesign at the start of his “new chapter”, Baker has been trolled hard with many users sending him memes and joke entries -even some referencing his feud with Eminem.
“So what did Baker do wrong?” asks CB's Dom Carter. “Well for starters, he should've given design hopefuls a brief to work with. After all, if designers haven't got some guidelines to follow, how will they know if they're heading in the right direction?”
It's not for us to say if Baker would have avoided Twitter's trolls by providing a brief but we stand with Carter's smart option. “But we kind of hope he calls people's bluff by crowning a joke entry the winner. Even if it were only for a limited time, it would be a great way of owning the situation” he notes.
Following are some of the entries which have flooded MGK's Twitterfeed the last couple of days in full troll mode.
As Britain prepares to leave the EU, Manchester-based illustratorStanley Chow and designerDave Sedgwick have joined together to create a unique set of prints, each one designed and illustrated as a celebration of the remaining 27 European Union countries.
The set of prints were featured originally in the exhibition which was originally launched with Hatch at Electrik Bar in Chorlton on 29th March, the day Britain was supposed to leave the EU.
“However with the success of the exhibition and that Britain exiting has gone a bit awry, it felt a good idea to take the exhibition out of the suburbs and into the City Centre and keep on expressing the desire to remain in the EU” explain the organizers.
The exhibition was relaunched on 11th June until September at Hatch's newest family member Electrik Box and they are available to buy here.
It's Monday so this is another #FontSunday fest on Twitter. To mark the Beazley Designs of the Year exhibition Design Museum invited the exhibition’s graphic designers Zak Group, the international design practice that gives shape to contemporary visual culture, to be the guest hosts of this typographic extravaganza.
This Font Sunday's theme was “zeitgeist” and Zak Group asked from the Twitterverse to post those typefaces which “capture the spirit of our times.”
From Futura, the typeface that Bauer proclaimed was the typeface of its time and tomorrow ever since 1928, through Neville Brody's The Face of the 80s to Susan Kare's 'Chicago' typeface designed for Apple Macintosh, back in 1983, or Frank Augugliaro's magazine spread for Wired and Pentagram's brand identity for OMNY Twitter exploded with a variety of typographic examples that defines an era.