Detail from I Would Save Freehand print for ifyoucould.co.uk by tDR
I discovered recently that this (allegedly) high-tech industry of ours is populated by a whole
tranche of designers who are quietly hanging on to an old, obsolete piece of drawing software writes Michael Johnson. They know they shouldn’t, they get ridiculed for it, but they can’t help it. A piece of software that has been ever-present for decades has proved a tough habit to crack. Like the beginning of an AA meeting where people stand and admit that they’re hardened drinkers, it’s time to stand up and say that “my name is Michael and, yes, I do still use Freehand”…
From designer Nicholas Felton’s recently-published Annual Report, documenting his 2008 in minute detail. Last year he travelled 38,524 miles. Average speed: 4.39 mph
Why do graphic designers find themselves so fascinating? As Nicholas Felton issues his latest Feltron Report for 2008, Michael Johnson examines the new wave of ‘me-projects’.
For the special Christmas edition of their creative get-together, Glug, Ian Hambleton (of Studio Output) and Nick Clement (Made Studio) have launched a seasonal competition. Creatives are invited to respond to the statement, “All I want for Christmas is…” to be in with a chance of winning some rather tasty prizes.
Stills from Digital Club’s film, Mare Street E8, which the duo created using their Creative Futures bursary
For almost 20 years, Creative Review has been encouraging the next generation of talented creatives through our annual Creative Futures scheme in which we celebrate the promise of a selection of emerging talent in visual communications.
This year’s crop of Futures were selected by the CR editorial team – our only criteria were to find individuals or teams who we feel have an extremely bright future ahead of them and who are indicative of the future direction of the industry.
Just before Christmas, each of our selected Futures gave a talk at one of three Creative Futures events. We invited everyone coming along to the talks to bring a piece of work with them – an image, some text, even a piece of music. We then asked each of our Futures to produce a new piece of work responding to the experience of being selected for the scheme, giving their talk and to the work brought along. These projects were funded by a bursary provided to each Future by CR and PlayStation. Over the next few days we will be posting up the resulting pieces of work – below is Digital Club’s animation…
Hat-Trick Design was nominated for its Lest We Forget stamp in Graphic Design,
one of only two nominations in graphics categories this year
While an unprecedented six Golds were handed out at last night’s D&AD awards, the Graphic Design section produced just two nominations and no pencils. We asked former D&AD President, Michael Johnson, and Sean Perkins of North why they think graphics was so under-represented (last year seven Silvers and four nominations were awarded in the section) and what D&AD – and indeed the wider design community – should do to change this situation in the future…
Born Marc Kremers: 14.06.77, South Africa; Tommi Eberwein: 24.07.76, Offenburg, Germany. Education Marc: Natal Technikon, South Africa, self-taught. Tommi: Ecal School of Art and Design, Lausanne, Switzerland. Based London. Work history Hi-Res! (June 2003–April 2007). Contact firstname.lastname@example.org, email@example.com, thedigitalclub.net
Underground magazine, issue 2, May 1987
The current issue of Creative Review focuses on a month in the life of Michael C Place/Build. As part of the piece, we asked Michael to cite an important influence on him as a young designer. His answer: Underground, an independent music magazine that ran for 13 issues from 1987. We tracked down its art director, Rod Clark to find out more about the magazine.