Posting Comments

Hi everyone
As was previously posted here, we did have some problems with people registering to post comments. That problem has now, happily, been resolved although I should point out that all comments are monitored and, therefore, there may be a slight delay in them appearing here.
best wishes
Patrick

Hi everyone

As was previously posted here, we did have some problems with people registering to post comments. That problem has now, happily, been resolved although I should point out that all comments are monitored and, therefore, there may be a slight delay in them appearing here.

best wishes
Patrick

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Hail To The Art

Red Snow Bootprints
Long term Radiohead collaborator Stanley Donwood is set to exhibit a series of paintings he completed with Dr. Tchock (better known as Thom Yorke). Held art Barcelona’s Iguapop Gallery, the show – bouyantly titled Dead Children Playing – is the first time the pair have exhibited artwork together.

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Look around your studio. How many of your fellow designers/creatives are sitting hunched over their Macs, headphones on, plugged into their own private world?
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Designing for Modern Times

With a new font, masthead, crest and thorough restyling of its navigational system, The Times has completed the final stages of its transition to compact format that originally began in November 2003. Neville Brody and designer Jon Hill talked us through the changes they undertook, working with deputy editor Ben Preston and the paper’s in-house design team. “I likened it to moving from a house to a bedsit but not unpacking,” says Brody. “We helped them to unpack and to put stuff on the shelves. We made it more spacious.”

The Alan Fletcher Show: Some Thoughts

Alan Fletcher as pictured in his final book, Picturing and Poeting, £24.95 / € 39.95, Phaidon 2006
The Design Museum was packed out with the great and good (plus CR) last night for the official opening of Alan Fletcher: Fifty years of graphic work (and play). Given the tragic circumstances, Fletcher having died little more than a month before, the evening was as much celebratory tribute as private view: a chance for the industry to show how much they loved and admired the man. Among those paying homage were Wim Crouwel, Bob Gill and, bizarrely, former quiz show host Bamber Gascoigne (anyone who knows his connection with Fletcher, please enlighten us).
Derek Birdsall gave a touching, if meandering speech and we all left clutching Quentin Newark’s beautiful show guide (the latter features biographical text from the exhibition alongside Peter Wood’s photographs of Fletcher’s gorgeous studio and is almost worth the admission money alone).
Of course the show is great – GTF’s design is respectful and understated while still providing some delightful touches (including a giant 3D Reuters logo) and Emily King cleverly paces the journey through Fletcher’s remarkable career. It’s all there: from the iconoclastic early years, through major corporate work at Pentagram to the exuberance of an independence secured late in life. But as with all great shows, Fletcher’s should be as much about influencing the future as documenting the past. It is the effect that the show will have on those who come to see it that will be as important as the joy of reviewing his triumphs. So here are some thoughts prompted by last night…

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