1) How many projects do you work on in a week?
I usually work on two or three projects in a week, sometimes less or more, depending on the workload and clients’ feedback speed. Aside from these, I also work on one or two personal projects. Picturing Thoughts is one of them.

Three of the ‘Picturing Thoughts’ posters — many more on the same-name website

2) Is there anything you know now that you wish you knew earlier?
I wish I had better teachers, but maybe it’s better that I’ve learned most on my own and by ‘stealing’ from the great people that I was lucky to work with. The best piece of advice I ever got is this: “decide if you want to be one of those looking at others’ work, or one of those doing their own work”. No amount of looking or teaching beats doing a lot of work yourself, paid or not.

3) Other than design what other things would I expect to work on as a designer?
It’s really worth keeping an eye on a few other subjects, not just design. Reading a lot will get you far, and an interest in photography helps as well. In the beginning I also worked in advertising, so a bit of knowledge about that is very useful. Not long ago I’ve put together a list with ten great books to read for a young creative, each with a few details. Aside from those, there’s also a very good book on copywriting, by Roger Horberry. Rory Sutherland’s (from Ogilvy) book is a lot of fun (really) and full of insights on how people buy things (behavioural economics, it sounds fancy but the book is not). All this reading will not only teach you a lot of useful things, but it will also make you more articulate, very useful especially when dealing directly with clients. A good designer is an educated one, with many interests outside ‘design’.

4) How did you get your first design job?
My first job came through a recommendation from one of my teachers, but at the time I was still a student so it was a part-time. I got my first ‘real’ job, after finishing school, by emailing all the top agencies in town. A couple of them called me for interviews and decided to hire me, I picked the first one. Since then, I’ve often used this approach (writing to the people I thought I’d enjoy working with and learning from) with quite good results, even if it meant just meeting them at first — projects usually came a bit later on. I’ve recently written a blog post for David Airey, you might find it interesting as well: On finding design work in a new country.

5) Do you feel as a designer it is better to be an all rounder or work in a specific field?
I’ve always been interested in working on a large variety of projects, maybe because I’ve studied both graphic and industrial design. The most interesting ideas and solutions appear from apparently unrelated subjects, and you can’t come up with them if you tend to do the same things. Not to mention how boring it gets, working on just packaging, just editorial or just identity design.

6) What is your favourite piece of design work and why?
This one’s very difficult, I don’t have just one favourite. I have a few favourite companies that I follow and try to learn from. Here are some great projects from a few of them, in no particular order: Pentagram, Wolff Olins, Lava, Studio Dumbar, EdenSpiekermann, johnson banks. Out of my own projects, it’s a bit tough picking one, as I always feel things can be improved, but let’s say I’d go with Baudeman, as it relies on a simple idea and is very striking visually.

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The questions were sent by Laura-marie Saul — thank you.
You might also find Peter McCabe’s answers interesting.

Miles Newlyn is one very rare designer that seems to be involved in almost every significant rebranding project across the globe. Browsing his website (links at the end of post), you’ll be amazed to see how many top companies’ identities, logos or custom typefaces have been ‘helped’ by his hand. Miles was one of the speakers at this year’s Brand New Conference, and his presentation is just as unconventional, inspiring and thought-provoking as his work.

Two things have stayed with me the most — first, Miles’s description of the ideal creative team:

[…] the most successful teams consist of a classicist, a mannerist and a romantic — classicists have the attitude of being in harmony with their place in time, they rejoice things as they are; mannerists have the attitude that creates its own little cosmos amidst the chaos, and the romantics dream of better times and places than here and now — these three human qualities I feel always provide the best team. Ocassionally you may have somebody who embodies both, or all of them, or it might be a bit lopsided sometimes […]

and second, his thoughts on the design process:

My process begins with ugliness […] Part of design is to perceive what is ugly, and a deep understanding of ugliness is the flip side of what we do — how can you make something better if you don’t know what is wrong with it? That understanding of ugliness is necessary to be able to move towards beauty […] Once you got beauty, the next stage for me is realness […]  Once we’ve understood what’s ugly in a piece of work […] the next stage is an understanding of which particular beauty it posesses […] falling into three main categories, the same categories that I’ve mentioned earlier […] classical, mannierist and romantic. Each of these categories of beauty are particular human perspectives, and so each of them are beautifully flawed. I tend to think very deeply about which particular beauty something posesses, and wonder whether that’s appropriate for the job […] The end of the process, which is always the point where you know you’re finished […] is ‘Have I found truth?’ — that’s when I know it is finished.

There are many other bits of wisdom, don’t be fooled by the slow first part. Here’s Miles on stage, with one of his beautifully crafted designs:

One quote that seems to have become quite popular is this one:

Stories have an end, and unless you want to think of your brand as having an end, then forget the storytelling idea, and forget people who talk about brand storytelling.

While I like its wittiness, I can’t say I agree with it. Good stories are always worth being told again, even if they end (Disney aside, Jack Daniels comes to mind here, they always have so many nice stories about their founder and their traditions) — plus some stories have a way of going on an on an on, sometimes never ending. I hate to use this as an example, but Eastenders and other soap operas are like this, people don’t seem to mind their way of continuing, they come back for more, no matter how absurd. And there are also some stories (especially Asian ones) where the reader has to add, continue or complete them. But I do think that ‘brand idea’ as a term is better than ‘brand story’.

Here are some of the logos shown in Miles’s presentation that he has designed or improved (and that are not on his website). You can recognise quite a lot of them from other big agencies’ portfolios:

The video of his presentation is available for download on the Brand New Conference website (you can hardly spend £3 / $5 in a better way). And of course, do visit Newlyn.com to see Miles’s impressive portfolio and maybe get some of his beautiful typefaces up for sale.

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OTHER LINKS

— some more quotes from BNC 2012 can be found on the BNC website;
— photos of Miles by Eric Ryan Anderson.

When I decided to move from Bucharest to London, I knew I was taking on the world’s best. There are around 46,000 designers in London, so competition is fierce. My first task was to research the “enemy.” A year before moving, I subscribed to Design Week and began to read the Creative Review blog on a daily basis. I was familiar with superstar agencies of Pentagram and Wolff Olins calibre, but I would’ve been naïve to think I could get a job at such companies so soon.

Knowing who’s who, even at lower levels, was a must. The Design Week’s top 100 provided a good start, and relentless reading of other articles and blogs helped me build a list of companies I thought I’d enjoy working with. I wrote emails to more than 200 of them, regardless of whether they had openings or not, each time trying to find who the creative director was and writing a little about their company so the email wouldn’t look like a mass-sent one. The strategy was to ask for an interview, not a job, and as most designers are helpful people, that was harder to refuse. This approach would get me far more than a chance for a job: I’d be meeting the right people, learning about their companies, getting good advice, sometimes even some freelance work.

“Luck plays an important role as well, but just as inspiration has to find you working, luck has to find you looking.”

It’s all about patience, perseverance, and the courage to ask. Luck plays an important role as well, but just as inspiration has to find you working, luck has to find you looking. You still need a good portfolio, of course, but that’s just the starting requisite, as London’s full of good designers. Write and talk to as many people as possible, be helpful and nice and people will remember or even recommend you. And it’s always a pleasure to hear from somebody you’ve just met that they’ve heard good things about you.

A nice photo of me that illustrates the article, taken by the talented Noctvrna.com.

You can read the whole piece on David’s blog. You might also be interested in my thoughts on moving, written back in 2010.

Hope you’ll find my experience of some use, and, if you’re about to do something similar, best of luck!

‘A lie told often enough becomes the truth.‘ — attributed to V. I. Lenin

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Phaidon have recently published the latest book by advertising legend, George Lois, entitled Damn Good Advice (for people with talent!). It is yet another inspirational book, very similar to those written by Paul Arden. The 120 pieces of advice are sustained by examples, usually from the author’s extensive career. Among juicy stories from the 1960s Mad Men era (so popular these days), he mentions his hero, Paul Rand, and his mentors, two teachers that recognised his talent and his first Creative Director, a lady, Reba Sochis. By the time you finish the book, you feel ready to take on the world, to go out and do your best work.

George Lois about Paul Rand (click for larger size)

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There’s just one problem.

Many of George Lois’s stories are not true.  If you try to find out more about his work, you’ll soon learn that he has been taking credit not only for projects in which the work has been done through team effort, but even for projects in which he hasn’t been involved at all. In his book, he never mentions Doyle Dane Bernbach (DDB) where he was employed, the Papert Koenig Lois agency where he was a partner, together with Fred Papert and Julian Koenig, nor Lois, Holland, Callaway.

The June 19, 2009 episode of This American Life, the radio show hosted by Ira Glass, features interviews with Julian Koenig, Fred Papert, George Lois’s ex-partners, and also with Carl Fischer (the photographer who shot most of the Esquire covers). They talk about projects they’ve done and to which extent George Lois was involved, if at all (links at the end of the post). After listening, it becomes very clear that George Lois is such a convincing story teller that he’s fallen victim to his own talent.

‘In my instance, the greatest predator of my work was my one-time partner George Lois, who is a most heralded and talented art director/designer, and his talent is only exceeded by his omnivorous ego. So where it once would’ve been accepted that the word would be “we” did it, regardless of who originated the work, the word “we” evaporated from George’s vocabulary and it became “my.”‘ — Julian Koenig

In 2005, George Lois published his book $elebrities, in which he basically replaces Julian Koenig in his own story about how he met Ernie Kovacs just hours before the latter’s death. Mr Koenig tried to fight back by running a witty ad in the New York Times. They never ran it, but AdWeek did, even if at the back of the magazine, to no response. Since I couldn’t find the original, I’ve taken the liberty to reimagine it, based on the ad for Coldene (coughing syrup), also Mr Koenig’s idea, but ‘stolen’ by George Lois. I’d be very happy if any of you would repost this.

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George Lois is an advertising legend and he’s been writing books periodically, appeared in the Art & Copy film and other interviews, so he’s had a lot of exposure along the years. Still, due to the current craze around the Mad Men TV series, many publications and websites have recently run even more stories about him, naming him ‘the original Mad Man’ or ‘the original Don Draper’. Lois has often rejected this comparison, talking about the shallow depiction of the 1960s advertising world in the series, but it is ironic to find out how much he actually resembles Don Draper, whose whole adult life is based on a huge lie (I won’t spoil it for you, watch the show). It is such a shame that because of his exposure, George Lois gets to repeat his lies over and over again. Later corrections, if any, written in small print at the back of magazines or blog posts cannot repair the harm done.

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FURTHER READING & LINKS
— listen to Ira Glass’s show with the above-mentioned interviews (or read the transcript);
— the Julian Koenig Wikipedia page — learn how he named Earth Day;
— the George Lois Wikipedia page, including the Controversy section;
— another blog post about the same subject, including some video interviews of both George Lois and Mr Koenig (direct YouTube link).

Unlike the lucky ones living in London, New York or other big cities with proper libraries, book shops and art schools, the rest have to settle for buying online. Without guidance, this can be daunting, especially on Amazon, with its huge range. You might get a bibliography from your school, or you could find reading lists of great designers (see end of article for links), but these are rarely short or affordable.

This is why I’m keeping my list to ten books. Five ‘basic’ books that will get you through almost anything, five more that will build on the first. Most of them are about graphic design, but those that aren’t will help you just as well, I’d bet even more. Here they are, each with a short reason-why:

How to be a graphic designer without losing your soul
by Adrian Shaughnessy
This book will give you a very good idea on the general idea of what it actually means to be a graphic designer. Whether you plan to find a job or start on your own, Mr Shaughnessy offers plenty of details on what you need to know and do. He also interviews several high profile designers, asking for their tips. The table of contents, laid out on the cover, is more than self-explanatory.

The Elements of Typographic Style
by Robert Bringhurst
While there is no such thing as too many typefaces (unless they’re on the same layout), this is less valid for typography books. Good typography is the backbone of any design, whether it’s a small Christmas card or a large supergraphic signage system. I will only add that Hermann Zapf’s ‘wish to see this book become the Typographer’s Bible’ written on the back cover says it all.

Grid systems
by Josef Müller-Brockmann
The 80′s are some thirty years back now and fortunately David Carson is just one, so you’ll need to learn the basics of grid systems, especially now that webdesign has finally caught up in using great typefaces and proper, even flexible grids. While the previous book will explain the basics, this book by Müller-Brockmann is the cornerstone. You don’t have to become a gridnik like Mr Crouwel, but any piece of design – just like architecture – needs a good structure.

The Brand Handbook
by Wally Olins
Unless you’re living on a remote mountain, growing your own vegetables, you’ll know by now that brands are all around us. In this day and age, understanding branding has become maybe even more important than classic skills like typography or grid design. This book explains what brands are and how they work. If you’re involved in any commercial business, branding is essential for success, whether you’re a designer or not. You’ll hardly find more concise, no-bullshit writing on branding than from Mr Olins – and these days everyone writes about branding.

Steal like an artist
by Austin Kleon
This book has only been published a few weeks ago, but rarely have I seen such concise pieces of advice for any creative venturer. You can read its ten short chapters in less than an hour, but you’ll find invaluable advice, ranging from copying as the best form of learning or freedom from debt to the importance of habits and perseverance. Buy it, read it, keep it on your table and browse it again and again.

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Graphic Design, A Concise History
by Richard Hollis
Graphic design has changed significantly with the introduction of PCs in the 1980s and with the spread of the Internet in the 1990s and especially the 2000s. Still, the core ideas remain pretty much the same as the ones laid out by the Bauhaus or Paul Rand, for example. The past is a great source of inspiration, as long as you keep in mind that you need to steal from many, not just one. Hollis’s book is a great start (also look for the Meggs tome if you have the time and the money).

A Smile in the Mind
by Beryl McAlhone & David Stuart
Design without ideas is mere styling. This book shows plenty of memorable examples of fine design, the kind that makes you smile with admiration. The projects shown range from playful, witty to humorous or ironic, covering the main business sectors. It also contains interviews with 26 of the best designers, explaining how they got their ideas. A must have for any designer striving to learn how to think.

Paul Rand
by Steven Heller
Probably the best monograph ever written about a designer, especially about Paul Rand. He is regarded as one of the finest thinkers, with work spanning from advertising, publishing to corporate design and children’s books. This book will show you the endless possibilities in design (even before the web) and introduce you to one of the best heroes you could have.

What I Talk About When I Talk About Running
by Haruki Murakami
It’s not about design, but this book will teach you about the importance of perseverance. Murakami offers great insights into what it takes to have a long and fruitful career. It also talks about the benefits of sport, especially for creatives that are bound to their chair for most of the day. Btw, this cover shown here is designed by Chip Kidd, look him up too.

Siddhartha
by Hermann Hesse
This is my all time favourite book. There’s so much to learn from it, but the main reason I’m including it here is that it talks about the importance of leaving your familiar places to experience the diversity of the world and about the search for meaning. It’s a great book for any designer that learns that best things come from ‘seeing’ (not just looking) around you, and dares to step out of the ‘bubble’ designers usually tend to live in.

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Ending note
Making the list hasn’t been easy. I had to leave out many gems like ‘From Lascaux to Brooklyn’ by Paul Rand, ‘Make it Bigger’ by Paula Scher or the wonderful “The Art of Looking Sideways” by Alan Fletcher. Also, the recently published ‘An A-Z of Visual Ideas’ by John Ingledew and ‘LogoDesignLove’ by David Airey are worth reading and keeping close, for daily references. All these will help you a lot, but in the end, the best way to learn is still working with a senior. Read these and go out and find somebody better than you, learn everything you can, then find somebody even better and repeat. Good luck!

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FURTHER READING & LINKS
— read the Eye Magazine article that triggered my post;
— browse my Anobii online library — ask me if you want more recommendations;
— read my reviews of the LogoDesignLove book and other great books;
— check out Designersandbooks — the favourite books of many great designers;
— also worth browsing, Frank Chimero’s and Jason Santa Maria’s book lists.

The event's quirky poster and the 'Free Magenta' book

The event started with Mr Wolbers thanking the sponsors and explaining the idea behind the event’s poster. Taking a different approach, the sponsors became the main focus, their gold-foiled logos being repeated several times, while the ‘content’ took a more humble place at the bottom.

Mr Wolber’s simple presentation, white text (using Impact!) on black background, showed nine sections on the table of contents and was announced to have 600+ slides (for 45 minutes). I thought it might actually be a stop-motion film, but Mr Wolber’s delivered a fast paced, very insightful and humorous presentation. ‘A monkey called Bokito’ was the first section, explaining again the Lava philosophy of telling a story in a surprising way. Why show a gorilla (Bokito) when everyone knows how one looks, when the story in the newspaper is about how it managed to get across a big water ditch? So the whole article showed only photos of the ditch, no gorilla.

Design is not about beauty, it is about telling a story

Next was their definition of design: Design is not about beauty. Design is about telling a story. Followed by the Lava ‘corporate’ film, funny and self-deprecating, showing a good sense of humour that was present throughout the whole evening. One example: the founders Hans and Greet names could’ve led to a hilarious Hansel & Gretel company name, but it was not meant to be (the illustration had the packed hall roaring with laughter). Mr Wolbers continued with how, not having a lot of work, he and his partner decided to start with a holiday first. A volcano in Indonesia led them to their name, Lava Design. And a train from Shanghai to Amsterdam provided more than enough time to read one of the ‘Bourne Identity’ books and change the rules of the spies into the designer’s:

• Think as the enemy client
• Always stay in control
• Do the unexpected

Back from holiday, both partners had around 600 meetings in 5 months, 3 per day for each, showing their portfolio to potential clients — this perseverance soon paying off. The fun story around this point: putting on their letterhead Alain Prost’s quote: ‘If everything seems under control, you’re just not going fast enough’ (attributed to Mario Andretti, but with the Internet, you never know) led to an appearance in one of the Rockport books with Mr Prost as the ‘boss’ of the company.

‘If everything seems under control, you’re just not going fast enough’

Next came a collection of photos of weird, funny, vernacular or over-designed toilet signs from all around the world — a growing series for a future book. These supported the point that understanding clichés can help in understanding design as stories and visual communication in general. Btw, If you have any similar photos, Mr Wolbers would be happy to receive them: hans at lava dot nl or contact him on Twitter at @hanswolbers.

A very good tip on how to explain the importance of brand identity to clients followed: using details of Van Gogh paintings, easily recognisable without seeing ‘the logo’ — Vincent’s signature — because of their style, something that a good brand identity should possess.

Visual style versus 'logo' — understanding the difference

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The next sections were case studies of LAVA projects. Worth mentioning is that most of them had video presentations, showing animations of the logos with music in the background — I bet this makes things more interesting (and easier to take in) for the client. First was ’7 days of inspiration’, a flexible identity for a networking event:

'7 days of inspiration' flexible identity

The THNK project, another flexible identity for the Amsterdam school of creative leadership, based on the idea that there is no ‘I” in Think, led to a multitude of I’s coming together and overlapping to form a network:

A flexible visual identity for THNK, the Amsterdam school of creative leadership

The following case study was titled ‘G-Spot’, about a South Korean company called Gabia in need of a new identity. A project started with what seemed like a spam email, but which proved to be a very good lesson on why you should avoid working for a client without knowing their background and paying a visit — they did only after three rejected concepts. The first one relied on four coloured circles, very similar to the very popular billiard signs, present all over the place in Seoul.

The visual identity for the Dutch National History Museum was next — a very simple yet so bold, different and fresh approach. Instead of going for the usual long name or the NHM acronym, they chose the ‘in NL’ name and developed yet another flexible identity, worthy of comparison with the identities of acclaimed art museums like Tate, Pompidou or MoMA:

Connecting the past and the present, the Dutch Museum of National History identity

A similar project but with a different solution, the very fresh identity for the Moscow Design Museum (launched that very morning):

Russian glassware inspiration for a flexible grid …

A visually striking array of symbols, all based on the same grid:

… leading to a multitude of symbols.

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“Claiming a colour is nonsense because colors are from God”
— Gert Dumbar

‘Free Magenta’ was the next story — if you’ve missed the total nerve of T-Mobile for claiming the magenta colour as their own a few years ago, read more on the website: www.freemagenta.nl. Mr Wolbers’s story proved again that designers should (and have the power) put their skills in service of good causes.

The last section was titled ‘How to earn more money’, based around some priceless advice (in the words of Peter Griffin: ‘see what I did here?’):

• Explain the value of your work creatively — Hans’s business card shows the classic ‘good—cheap—fast’ triangle, of which the clients can only pick two — very simple, very effective and also quite fun;
• Be market sensitive — good advice on how to adapt to the market, especially during a crisis, as Lava explain on this specially created website: crisisdesign.nl;

A very entertaining story was the one about tenders — most designers’ nightmare. After frustratingly seeing client after client skipping the carefully-written presentations just to go directly to the last page and start complaining about the price, no matter how high or low, Mr Wolbers started to look for a ‘design solution’ to this problem. It came in the shape of three sealed envelopes, one with a ‘cheap’ price inside, one with a medium price and one with a high price. You can imagine the client’s surprise to this approach. They would almost always avoid the cheap one — no one likes to be seen as cheap. That would leave the medium and the expensive. What’s the difference, the client would ask?

Paris in your old, rusty car …

Well, for the medium price, it would be like going to Paris in your old, rusty car …

… is not exactly Paris in a superb Jaguar.

… while for the expensive price, you’d be going to the same Paris, but in a superb Jaguar. The destination is the same, but the necessary time and the experience are quite different. A very smart way to put it, and two out of three clients would go for the expensive package. The ending conclusion: Think creatively not just in design.

Think creatively not just in design.

Questions and answers followed, myself starting by asking whether Lava presents more directions to the client or one, and more after if the first one fails. It seems they present early concepts and involve the client early in the process, choose one direction and develop only that one. Another question made Mr Wolbers confess that he’d love to design an airline (who wouldn’t?). Another good question was whether Lava are specialised or not (from Mr Lee Sankey, see below for link). Their aim is to have/be more ideas people who could direct a team of visual specialists (freelancers). A question about pitches made Mr Wolbers explain the advantages of having a strong Dutch design association (think AIGA), meaning they only take part in paid pitches. Still, he admitted that competition is getting tougher.

Mr Hans Wolbers

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Personal note
I’ve taken the time to write all the details I could remember (and recreate some of Mr Wolbers’s examples with images from the web) as this has been probably the most inspiring design presentation I’ve seen ’till now. Dutch design, no matter how beautiful, often seems ‘alien’ and undoable in other places but the Netherlands, but hearing the stories for each case study convinced me that there is no excuse to not doing fresh, surprising work. This review might be on the long side, but I hope it is useful nevertheless. Thanks again to Mr Wolbers and the organisers.

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LINKS
— see more case studies on the Lava website;
— you can follow @LavaDesign and @hanswolbers on Twitter;
— keep an eye on LongLunch and the Design Museum for more events;
— Mr Lee Sankey blogged about the event as well.

'Symbol', edited by Angus Hyland and Steve Bateman

In the second part, titled ‘Mark & typeface’, Mr Hyland talked about the ongoing partnership between Cass Art, the London art materials retailer, and Pentagram. Over more than ten years, Pentagram have developed a beautiful brand identity, based mainly on typography (with very nice recent additions of colour). Just like most successful brands, Cass Art based its strategy on a very good manifesto/strategy: “let’s fill this town with artists”, being the first aiming to sell affordable art materials to everybody, not just highbrow artists.

The Cass Art store in Soho

Other highlights were the Cass Art Kids side-project, the packaging for own-label products, based on Mr Hyland’s habit of ‘colouring’ bits and pieces in his free time, and the retail design done together with Pentagram’s architecture team. Oh, and after ten years, they finally got around to making the business cards too :)

Cass Art Kids books, illustrated by Marion Deuchars

Each illustration suggest the purpose of the item

Colour names on the front …

… famous art pieces referenced on the back (that use the colours on the front).

The event was sold out, some even being willing to stand just to get to see Mr Hyland’s talk. Questions at the end ranged from the typical-student-question, ‘what’s your favourite symbol’ (Woolmark, if you’re dying to know) to more interesting ones. My question was that since sustained advertising (Nike etc) or just simple repetition (Google) seem to hit the spot with consumers, how valuable is a well-designed mark anyway. Mr Hyland made a very good analogy, saying that a good mark ‘is like a good suit, it won’t guarantee your success, but it will make you look good and feel better, and in time, people will associate you with that image‘ — quite similar to what Thomas J. Watson meant with ‘good design is good business’.

[a good mark] is like a good suit, it won’t guarantee your success, but it will make you look good and feel better, and in time, people will associate you with that image

It was also very interesting to see Mr Hyland using terms like brand equity, brand proposition and others, showing that, these days, even Pentagram has to talk more branding than design.

The Typo Circle members were wonderful hosts and I must say I can’t wait for the next event. And especially to receive the Circular magazine, designed by Mr Domenic Lippa (Pentagram), which you get for free as a member.

One of the four-series posters specially designed for the event, given away at the end (kindly signed by Mr Hyland)

So, if you’re in London (or in reachable distance), do yourself a favour and sign up as a Typographic Circle member, it’s only £30 per year, for which you’ll get discounts for the events, the beautiful annual Circle magazine and the chance to say hi personally to some of the best designers in the world, every month.

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LINKS
— read even more details about the Cass Art project on Eye Mag’s blog;
— see the Cass Art projects on the Pentagram website;
— watch the ‘Symbol’ talk at the Design Museum on Vimeo;
— details about the event on the TypoCircle website and the Creative Review blog;
— you can buy the book ‘Symbol’ on BookDepository (free shipping worldwide) or Amazon.

When you don’t create things, you become defined by your tastes rather than ability. Your tastes only narrow and exclude people.
So create — why the lucky stiff

Yet another push, if you still need one, to spend more time creating your own work and less looking at what others are doing. As it gets easier and easier to be online 24/7 — tweeting, instagramming, facebooking, blogging or Internet-knows-what — it gets harder and harder to find the time for your own projects. And I’m talking about investing at least a few serious hours, if not days’ worth, not just thirty minutes here and there, doing trendy all-caps posters using Twitter ‘wisdom’ for copy — even if some seem to make quite a good name for themselves in this way.

It’s also a bit unsettling to realise that if you could judge yourself by your creations only, you wouldn’t have a very good opinion of you, isn’t it?

Before you ask, the source is not a joke, it’s the pseudonym of a programmer, you can read more about his interesting story and disappearance here — I’m hoping he just decided to create more.

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Via Quote Vadis. You might also like my post, “My taste is why my work disappoints me.”

Hopefully, this new year will be more work, less talk. I haven’t been writing much lately, but if things go well, you’ll be looking more than reading. Comments will be welcome, as always. May we all have a great one — cheers!

Iancu

I took the photos on Cavendish and Regent’s Street in London, using Instagram on an iPhone 4. The second one was quite a surprise, as it’s just a 5-min-walk away from the first one.

You can see more of my photos on Instagram (Statigram, actually, as Instagram doesn’t have a web interface — *hint, guys!*). You can also follow me on Twitter, as you can follow 1Plain1Fancy for updates.