CR September 2012 Graduates issue
Every year we devote our September issue to showcasing work by a selection of bright young hopefuls emerging from education. This time, however, we thought we'd do things differently...
Instead of just interviewing each of our selected graduates, we've paired them up with a seasoned pro in their respective field. We asked them to interview each other for the grads to glean as much helpful advice from the professionals as possible, and for the pros to give helpful, realistic crits of each graduate's work.
and to still life photographer Jenny van Sommers who gave invaluable advice to Megan Helyer, a graduate of Cleveland College of Art and Design. We're very grateful to all of them for giving up their time for this project.
The idea, of course, with this series of articles is that they provide useful, perhaps even essential, reading for any young creative starting out and trying to establish a professional practice.
Also in the issue, Eliza Williams talks to the key players at Google Creative Lab to find out more about their working philosophy
And in Crit, David Crowley reviews the new Unit Editions book that looks at the career of the master US designer and art director Herb Lubalin.
Jeremy Leslie looks at how a new wave of magazines, such as the bilingual Figure, are using a central theme to explore the wider culture, and Michael Evamy takes a looks to identify the dos and don'ts of town and city branding
Meanwhile, Gordon Comstock asseses the vital role of failure in advertising as part of an essential learning curve all creatives must embrace.
Plus, in Monograph this month we showcase a series of typographic works (created especially for this issue of Monograph) by Jonathan Barnbrook all of which immortalise various tweets by Barnbrook offering advice to students.
Oh, there's also a chance to win a one-off A2 digital print of one of these Aesthetic Sense artworks by Barnbrook on our regular Gallery page in the issue.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
...keep the fantastic rag coming.
thats the worst cover i have ever seen
Id just like to say that I didnt see the Olympic issue anywhere it must have literally flown off the shelves.
Perhaps someone would consider doing a review of Hyper-Cubism or Dimensionism. I've started a Dimensionist group at Facebook which gives information: http://www.facebook.com/dimensionism
Setting a quote in a horrifically ugly piece of type design? If its not Sagmeister, its Barnbrook. What a load of self indulgent crap.
Rest of the issue looks very interesting though.
The cover artwork links to the subject of our Monograph this month and the whole theme of the issue - help for graduates and young creatives. In response to repeated questions from students and young designers, Jonathan created a series of Tweets distilling useful, practical advice garnered from experience which he sent out earlier this year and which thousands of people found helpful. He then set those words of advice in a series of artworks for Monograph.
This project is about going out of your way and spending considerable amounts on time and effort in offering practical advice and help to young people. What's self-indulgent about that?
How does laying out the advice like this make it more useful? Ugly distracting design makes things harder to read and gets in the way of what the piece is trying to communicate. I appreciate that Jonathan has taken time out of his day to give (some fairly obvious) advice, but in what way does the design enhance or further communicate this advice? That's what makes it self indulgent.
If this was a piece of art or an illustration, self indulgence is fine, but as soon as you introduce words that are meant to be read you have to consider what effect the design is having on the communication of those words.
I would suggest you read more about Barnbrook’s ideas and approaches to typography before criticising. That is not to dismiss criticism per se, but to dismiss your method of criticism, which is to denounce work that does not conform to a severely restricted set of criteria. You do not consider the possibility that the design was constructed to challenge those restrictions and in so doing was directed by a clear purpose.
Indeed, against even that approach, I would suggest that Jonathan has tended to fold several competing and complimenting ideas into his work. Thus, rather than simplifying the reading process, he (and his studio) seek to highlight how design impacts upon it. As such Jonathan makes informed decisions not just with the content of the message, but how one may perceive it before it is even read. It’s a method used by many creatives who are interested with the complex relationship between medium(s) and message(s). It may be easier to appreciate this effect by studying the score of a film, and seeing how eliminating it or transforming it radically transforms our affective state and the messages we read into it. Moreover, Jonathan’s work has always engaged with humans as affective beings connected by their inability to ever fully connect, except through a poetic act of creativity. We are more than machines that simply receive, process, and output data. We are in ever emerging emotional states (bored, happy, angry etc.) and Barnbrook’s work explores seeks to explore and develop these modes of being alongside our capacity to reason.
Finally, suggesting that a designer is being self-indulgent does not really constitute criticism, as it does not tell us anything of value. It psimply resents a subjective opinion we can only agree or disagree upon, rather than unveil a new way of understanding or appreciating the work and/or our own subjectivity.
Wow, I love this cover! really huge
I am really into the mono vibe of Monograph.
Looks like you have a lot of neat articles in your August issue of CR. Curious what google guys had to say about their culture.
Ive just purchased and am reading the september editiong of CR. Being a graduate Im finding the word of advice piece for this years edition particularly useful. However I must say , that I am dissapointed to once again see motion design not get a look in. A creative discipline which asks of so much of those who wish to persue it, to be a graphic designer, filmaker, animator 3d generalist etc all rolled into one. This is a subject I still feel doesnt get the pages it deserves in magazines and as one of many wannabe struggling motion designers some words of advice would have been very helpful and appreciated. Maybe next year.
|Enzo of the Antarctic (7)|
|The new Flickr: thoughts? (28)|
|Black Rat Projects displays Josh Cole photography (3)|
|YCN Studio creates ChildLine animation for abuse victims (2)|
|Studio Output designs Ministry of Sound tube campaign (5)|
|The billboard turning thin air into water|
|Step into my cardboard office...|
|Paul Arden: a true maverick|
|Image Duplicator: pop art's comic debt|