tag:blogger.com,1999:blog-37373988479017450132024-03-09T18:47:35.069-08:00James Brook / DesignUnknownnoreply@blogger.comBlogger511125tag:blogger.com,1999:blog-3737398847901745013.post-32943421813611362072024-02-28T03:18:00.000-08:002024-02-29T06:19:29.744-08:00Perspectives Issue 4<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8lY_WMe1tZ-5lIzz0QiXLc1yCXqRSQcaWgkjx6maNMaT8fYuckdtqn2xczMTvYunLLFe2C8fA4ZgDi5mfq2Mw9LhCUrEuwxCO7Bxd-K_1Cuz7H3qLVSr65nySf2kathzfT7yHj11nrMU9I9oIUxbcPQz4nnJx3vAKUqT8Z8g5jVJSzk-B2OsZqeNgSYA/s1600/PerspectivesIssue41.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8lY_WMe1tZ-5lIzz0QiXLc1yCXqRSQcaWgkjx6maNMaT8fYuckdtqn2xczMTvYunLLFe2C8fA4ZgDi5mfq2Mw9LhCUrEuwxCO7Bxd-K_1Cuz7H3qLVSr65nySf2kathzfT7yHj11nrMU9I9oIUxbcPQz4nnJx3vAKUqT8Z8g5jVJSzk-B2OsZqeNgSYA/s1600/PerspectivesIssue41.png" /></a></div>
<p><b>Perspectives Issue 4: Language and Culture</b></p><p>Published by Haileybury, 2023 </p><p>Editor: Toby Parker </p><p>Contributors: Gary Wade</p><p>Designed by James Brook </p><p>210mm x 245mm | 112 pages | Printed by Gomer, Wales on 150 gsm Edixion Offset with 300 gsm machine-sealed soft cover and 150 gsm wraparound jacket with 200mm flaps</p><p>This is the fourth issue of <i>Perspectives</i>, a magazine that I have designed from the first issue, creating a flexible but rigourous design and layout that subtly shifts and develops with each issue. The magazine is published by Haileybury School and was initiated from a desire to showcase the school’s heritage, current academic and cultural issues with new research about the school’s collections. Edited by Toby Parker, the Heritage Director and College Archivist at Haileybury, the magazine examines the school’s role in a variety of cultural practices and issues, and to think critically about the way in which it interacts with other cultural institutions locally, nationally and globally. </p><p><i>Perspectives</i> is published several times a year; each issue is themed, with this one titled ‘Language and Culture’. This special issue is the biggest issue to date with 112 pages and breaks away from the magazine format of previous issues – which were based around a series of articles and essays – with most of the publication taken up with the first edition of the <i>Haileybury Lexicon</i> or <i>Haileyburiana Redux</i>. The Lexicon consists of over 1,000 entries relating to vocabulary used between 1862 and 1942 at Haileybury, and demonstrates the complex culture of the School in its first 80 years. Words and phrases, most of them cross-referenced with other entries, offer insights into the social hierarchies, humour, cruelties and the general intricacy of the culture that existed before the mid-twentieth century. </p><p>It was an interesting challenge to take the design and layout of the magazine – established in the previous three issues – and push it in a totally different direction. I generated sample layouts and designs that explored how the essence of the design could be kept whilst accommodating a very different type of information than the essays and self-contained articles published in previous issues, refining these ideas in consultation with the editor, Toby Parker, over a period of time. The layout of the Lexicon entries uses the same typeface, Calluna, as in the previous issues but, for the Lexicon, it is used exclusively in its serif version to echo the authority of a dictionary. Individual entries in Lexicon are typeset in different weights and styles of Calluna to establish a hierarchy of information and to assist the reader in understanding the conventions of the cross-referencing system set up by the editor. Once the Lexicon had been typeset and everything was in place, we became aware, as we proofed, corrected and cross-referenced the entries, that the contrast between different types of information needed to be stronger so I refined this hierarchy further. </p><p>Alphabetical sections are marked by over-sized letters printed in ‘Lexicon Red’, an additional colour to the four colours originally created for the magazine. This colour was then used throughout the magazine alongside ‘Perspectives Gold’ to create a cohesive design. Initial sample layouts included images within the Lexicon entries but we decided that, in this issue, the text was the most important element so images were kept on separate pages to maintain the integrity of the Lexicon entries. Initial layouts included far more images which were, over several iterations, whittled down to just the very key images – this introduced more white space which offsets the density of the text of the Lexicon and gives the reader a space to breathe whilst also punctuating the entries.</p><p>The editor felt that, although the Lexicon is presented within issue 4 of <i>Perspectives</i>, it should also feel self-contained, as a publication in its own right, so, as a solution, I proposed a jacket with flaps in addition to the cover. The design of the jacket follows the design of the previous three covers of <i>Perspectives</i>, maintaining a cohesive and recognisable series. ‘Perspectives Gold’ was used as the key colour for the cover, the fourth colour from the palette of colours I created for the magazine, which sits well with the colours of the cover illustration. With the extra bulk from the 112 pages, we were able to include the title of the magazine on the spine – previous issues were too narrow to include this. The jacket wraps around the actual cover of the magazine which has a design that highlights the Lexicon as a complete publication with the title on the front and on the spine following conventions of traditional book design rather than magazine design. Information such as the editor’s introduction and the colophon are placed on the front flap; when the flap is removed, the magazine immediately feels more like a book with the first page acting as a title page. We imagined that some readers might not remove the jacket but, for those that did, not only is there the slippage between magazine and book but there are a couple of illustrations from the Haileybury archive, hidden on the inside back and front covers, that are revealed only to curious readers. Similarly, the tint of ‘Perspectives Gold’ that is printed on the inside of the jacket, a contrast to the white paper, can only be seen if the jacket is taken off. </p><p>The client and myself are really pleased with the design of this issue and I think that, once again, it proves the versatility of my original design and layout of the magazine. </p>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_YGs8N2yEQmE2BXxdfp0wRd5XRINh1MTvVBGnV3JjVjOvzJZlFVa6cgTbVoFajAdhIwBtw5m-LDgIjyh8GY3xDOCi-yj2-XQbRIhsAvS8x9wqz6sk2giwl8s3wSNmCa9q0SKms2oqOjvLFDmtMyBrx4zv-aB7TwRt6LcfkJqeWAlDLgeTB0ShkpEpTS4/s1600/PerspectivesIssue416.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_YGs8N2yEQmE2BXxdfp0wRd5XRINh1MTvVBGnV3JjVjOvzJZlFVa6cgTbVoFajAdhIwBtw5m-LDgIjyh8GY3xDOCi-yj2-XQbRIhsAvS8x9wqz6sk2giwl8s3wSNmCa9q0SKms2oqOjvLFDmtMyBrx4zv-aB7TwRt6LcfkJqeWAlDLgeTB0ShkpEpTS4/s1600/PerspectivesIssue416.png" /></a></div><a href="http://jamesbrookdesign.blogspot.com/2022/06/perspectives-issue-1.html" target="_blank">Click here to see <i>Perspectives</i> Issue 1</a><div><a href="http://jamesbrookdesign.blogspot.com/2022/12/perspectives-issue-2.html" target="_blank">Click here to see <i>Perspectives</i> Issue 2</a></div><div><a href="http://jamesbrookdesign.blogspot.com/2023/07/perspectives-issue-3.html" target="_blank">Click here to see <i>Perspectives</i> Issue 3</a></div><div><br /></div><div><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-1034848289257788602024-02-21T00:26:00.000-08:002024-02-21T00:26:08.788-08:00From the Archive: Bernat Klein Poster<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6RGPNk9nDTZ6h7-Ln94q27d3n93Kz5mFRjgBRfTbzVEuA5_ANgeECTSGn3NJZ4Mc-KCoq4nyt_pyjYoaB6x23MUSSDasEeRudzoHZ0H6lqF9i6ETSddK56sRrLHctQcwz_bQcNOgYYcl7cF6c518us_AuvTYeyMlSUlx9bKrnByl6s0Bn4X5zqWpTrjQ/s1600/Klein1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6RGPNk9nDTZ6h7-Ln94q27d3n93Kz5mFRjgBRfTbzVEuA5_ANgeECTSGn3NJZ4Mc-KCoq4nyt_pyjYoaB6x23MUSSDasEeRudzoHZ0H6lqF9i6ETSddK56sRrLHctQcwz_bQcNOgYYcl7cF6c518us_AuvTYeyMlSUlx9bKrnByl6s0Bn4X5zqWpTrjQ/s1600/Klein1.png" /></a></div>
This is a poster that I designed for Dovecot Gallery in Edinburgh almost ten years ago; it was commissioned for an exhibition of the work of the textile designer and artist Bernat Klein that ran during the Edinburgh Art Festival in 2015. This was the third time that I had used this poster layout in what was gradually becoming a cohesive graphic identity for Dovecot that was eventually rolled out across other items that I designed including posters, invitations, banners, and the Dovecot What’s On guide. Working very closely with Lizzie Cowan, the marketing manager at Dovecot, I developed the identity from the bare bones of a pre-existing set of logos and a palette of three colours that were already in use at Dovecot: Dovecot rich black, Dovecot pink and Dovecot grey. The Dovecot logo was typeset in Whitney but as the gallery had not yet purchased the license to use it, for this poster and the other print items that I designed with it, I used the freely available and visually similar Callibri instead. <div><br /></div><div>Lizzie and I both believed that imagery should be prioritised in the layout of the printed material that we were developing: the image on this poster – a detail of a colourful and highly textured tapestry by Bernat Klein, <i>Scandia –</i> created in 1971, appears in a wide band that is bled at the left- and right-hand edges; it is the dominant element in the layout. Below the image is a deep white band that contains all of the typographic information including the exhibition title and logos; above the image is a narrower band that holds the Dovecot Gallery logo. I made a decision to keep information such as the exhibition title, dates, opening times, captions and logos on a white background to avoid the problems of legibility and readability that can occur when these elements are laid over an image – the use of white space became a distinct feature of the identity as it developed. </div><div><br /></div><div>The elements of the Dovecot Gallery logo (text and thumbnail sketch of a dovecot) are ranged left so it seemed rational and correct to align it to the left of the poster; reading left to right, the white space to the right of the logo is animated by the ragged right edge of the logo – if the logo is placed on the right-hand side of the poster, it doesn’t have the same dynamics because the ranged left elements of the logo create a strong vertical element and the space on the left of the logo becomes a dead space rather than an animated space. Even though the logo isn't the largest element in the layout, it is given a very strong presence by being surrounded by a generous amount of white space and by the fact that the logo is the only place where Dovecot pink appears, creating a pop of colour that attracts the eye. </div><div><br /></div><div>The typographic information that appears in the wider white band at the bottom of the poster was adapted for each exhibition. Typography was always ranged left with a ragged right and was usually printed in rich black only. Certain elements, such as the Dovecot address, contact details, and opening times were always treated in the same way to create consistency and to reinforce the identity, but the title of the exhibition and dates were treated differently for each exhibition, using a mix of upper and lowercase, different weights, sizes and arrangements of the typeface to create visual variety and interest within the more static layout. Seen as a set of posters, this combination of consistency and variation created a visually connected and playful series that became instantly recognisable as being a Dovecot exhibition.</div><div><br /></div><div>As part of the brief for this project, Dovecot showed me items from the Bernat Klein archive including examples of the company’s space age packaging with their innovative use of plastics and cutting-edge graphic design. Bernat Klein, as a forward thinking designer, used sans serif typefaces such as Akzidenz Grotesk, Univers and Helvetica as a signifier of modernity; the obvious solution would have been to use one of these typefaces for the poster but, in keeping with the nascent identity I was developing for Dovecot, I used Callibri in a way that captured an idea of modernity, with Klein’s name in a combination of upper and lowercase as it appeared on his company logo. The title of the exhibition is set in uppercase italic which has a futuristic, forward-moving urgency to it – a subtle reference to Malcolm Garrett’s classic 1981 logo for Duran Duran’s first album which, in turn, was referencing the futurism of the 1968 science fiction film <i>Barbarella</i> in which the character Durand Durand appears. There was a further nod to the space age on the private view invitation where the exhibition title was printed in a spot colour of metallic silver – on the poster the title is printed as a silvery grey tint of (rich) black. </div><div><br /></div><div>In all the subsequent posters that I designed for Dovecot, the layout remained the same as this one. The Dovecot logo remained in the same position and other elements were never added to the white band at the top of the poster. This placing of the logo was applied to other items that I designed for Dovecot and this consistency of placing, along with the liberal use of white space and prioritising of imagery combined with considered and rational typography – all established in this poster – created a distinct and identifiable brand for Dovecot, firmly positioning the gallery on the contemporary art and design radar.</div><div><br /></div><div>Below is a square advertisement designed for the RSA magazine that shows how the basic design could be adapted for different uses. At the bottom is the private view card with metallic silver spot colour printed on a heavyweight uncoated bright white card.</div><div><br /></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpgFlLYomsMr-lEOzF74Ovu6sgn3fYsIktlz3UJk8pWT8WBJAIekxiL6ER6yJxsz9imBJDGqxJWCp5kiy8d1tGv3g7EUOEwnMfASlO7XORwDyU16h3ETBGHpA9Y9l7zsi5OcyXzDU28HRISdWUucNmDtfeJvkGmfvjUYoCElhz_2Wbrv8dApbW8M0qRg/s1600/Klein2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpgFlLYomsMr-lEOzF74Ovu6sgn3fYsIktlz3UJk8pWT8WBJAIekxiL6ER6yJxsz9imBJDGqxJWCp5kiy8d1tGv3g7EUOEwnMfASlO7XORwDyU16h3ETBGHpA9Y9l7zsi5OcyXzDU28HRISdWUucNmDtfeJvkGmfvjUYoCElhz_2Wbrv8dApbW8M0qRg/s1600/Klein2.png" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQYe4hXTg6Ep0Z4Umqa4clp7PkU6VlW6CRLcwpuDxHDlO6nL16nMubf43szrfdUpcvh77ourou9nblwzKgbrUDseLphLipkfwdCYnjCJG5rsHKUPY20Ovw9yRSPys_ea8dQ4T6fkSzrIZu8eHWLULzRxCmATIZ-MAH-wdauZdlNeZi-PU0ALsHeNqw5ak/s1600/Klein3.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQYe4hXTg6Ep0Z4Umqa4clp7PkU6VlW6CRLcwpuDxHDlO6nL16nMubf43szrfdUpcvh77ourou9nblwzKgbrUDseLphLipkfwdCYnjCJG5rsHKUPY20Ovw9yRSPys_ea8dQ4T6fkSzrIZu8eHWLULzRxCmATIZ-MAH-wdauZdlNeZi-PU0ALsHeNqw5ak/s1600/Klein3.png" /></a></div><br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-56113143418408870942024-02-06T02:33:00.000-08:002024-02-06T02:33:31.798-08:00Manipulate Festival 2024<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifHI-pi6xX7iJ2KhxAC84HVbfiiaMKAoiRy3-KePSWuQ1pi5lhfu5Z3CSeXDKrmDwnjh6G5ak6neyLnbThQMSf4EhiB9sSVFF2VWSWRW-VLqitejyVspYH9i2qaQjNKaa4E_Nh-kFlPh4TfnFCyg-FnGFOU5lcOdf6Kq_x1cVx_sBs4jKgGe9N3B5Aolw/s1600/Manipulate2024.12.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifHI-pi6xX7iJ2KhxAC84HVbfiiaMKAoiRy3-KePSWuQ1pi5lhfu5Z3CSeXDKrmDwnjh6G5ak6neyLnbThQMSf4EhiB9sSVFF2VWSWRW-VLqitejyVspYH9i2qaQjNKaa4E_Nh-kFlPh4TfnFCyg-FnGFOU5lcOdf6Kq_x1cVx_sBs4jKgGe9N3B5Aolw/s1600/Manipulate2024.12.jpg" /></a></div>
<div>Manipulate 2024 is Edinburgh’s international festival of animated film, puppetry and visual theatre, bringing the very best of international and Scottish work to audiences across Edinburgh and beyond. This is the second time that I have worked with Manipulate Arts, the organiser of the festival, designing marketing material including a programme guide, posters of various sizes, advertisements, digital posters, vinyls, and a ‘takeover’ of The Skinny website. </div><div><br /></div><div>The first three images are digital screen posters installed at the Festival Theatre, Edinburgh and the last two images are A3 posters and a large vinyl installed at the entrance of the Studio Theatre, Edinburgh. Find out more about my work for Manipulate 2024 on my previous post.</div><div><br /></div><div>Find out more about the festival here: <a href="http://www.manipulatearts.co.uk/festival">www.manipulatearts.co.uk/festival</a></div><div><br /></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcSKzRoRHigJv6rqYgeYxtUJMiM60llmM4n8nGD4wbPlfzmwueiZY_t5CoG7vchsqoF-CM60p9GTkJTZcl_OZ5nDlBIQdEB1Enh-02duf6OlKLXYchPs95r72Ss1yzRainfEA4jN_IupASq6Xf9ubSCMZ-mrx626dvHjdhCHyET4PM1MAZfteBGCctG4M/s1600/Manipulate2024.13.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcSKzRoRHigJv6rqYgeYxtUJMiM60llmM4n8nGD4wbPlfzmwueiZY_t5CoG7vchsqoF-CM60p9GTkJTZcl_OZ5nDlBIQdEB1Enh-02duf6OlKLXYchPs95r72Ss1yzRainfEA4jN_IupASq6Xf9ubSCMZ-mrx626dvHjdhCHyET4PM1MAZfteBGCctG4M/s1600/Manipulate2024.13.jpg" /></a></div>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjELSXHP58dT6JyT-OXRjzQ8A3LnBDWbcgDGpW9VuhlRrEjZU12gexcbedMITGGq3SSpy_Tkhp6ige5OYBKCGlwmtYSLTMoSwQtI7-OSoZk3d12QmY5SWQUUPy6XA5ZLT1WtclM5zMRZDSsrXu7P_L3Zfa0aCHM5VmGl-NULNrl2hbn7foED1WfqfOL17U/s1600/Manipulate2024.10.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="3024" data-original-width="4032" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjELSXHP58dT6JyT-OXRjzQ8A3LnBDWbcgDGpW9VuhlRrEjZU12gexcbedMITGGq3SSpy_Tkhp6ige5OYBKCGlwmtYSLTMoSwQtI7-OSoZk3d12QmY5SWQUUPy6XA5ZLT1WtclM5zMRZDSsrXu7P_L3Zfa0aCHM5VmGl-NULNrl2hbn7foED1WfqfOL17U/s1600/Manipulate2024.10.jpg" /></a></div>
Click <a href="http://jamesbrookdesign.blogspot.com/2023/01/manipulate-festival-posters.html" target="_blank">here</a> to see the posters that I designed for Manipulate 2023.<div><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-34644486211815136012024-01-31T02:14:00.000-08:002024-01-31T04:39:49.848-08:00Manipulate Festival 2024 Posters<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieVuQWurtbSdVwrE9tNl6pzze947JsCKy8S8Nv0A0XS6yMJHe9t_Xyunk-5UkBsyJU6vr5oFG1iJEzK8NycG-u1f46L5GzaR3jR16xy4ori_YPLXAMI6uzh5lpF0EcSeYRtz-0BJNOMxWH0bXFG5aJPGaT_CTCkdV-e1X7-rPhHuKjm0JRcQtBYy6UCcc/s1600/Manipulate2024.7.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="4032" data-original-width="3024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieVuQWurtbSdVwrE9tNl6pzze947JsCKy8S8Nv0A0XS6yMJHe9t_Xyunk-5UkBsyJU6vr5oFG1iJEzK8NycG-u1f46L5GzaR3jR16xy4ori_YPLXAMI6uzh5lpF0EcSeYRtz-0BJNOMxWH0bXFG5aJPGaT_CTCkdV-e1X7-rPhHuKjm0JRcQtBYy6UCcc/s1600/Manipulate2024.7.jpg" /></a></div><div>This is a series of posters that I designed for Manipulate 2024, Edinburgh’s international festival of animated film, puppetry and visual theatre, bringing the very best of international and Scottish work to audiences across Edinburgh and beyond, in February each year. This is the second time that I have worked with Manipulate Arts, the organiser of the festival, and I am delighted to see my designs on posters all around Edinburgh. </div><div><br /></div><div>The posters are part of a wider identity that I have designed for Manipulate 2024 that has been adapted across a suite of marketing and promotion items including a programme guide, posters of various sizes, advertisements, digital posters, vinyls, and a ‘takeover’ of The Skinny website. There are three poster designs using three key images from performances from the festival along with a general text only poster.</div><div><br /></div><div>The starting point for the identity was an animation of the Manipulate Festival logo created by Jamie Macdonald that was commissioned by Manipulate Arts to announce the festival. Taking inspiration from Jamie’s animation, and working with him to create new neon assets in a carefully edited palette of colours, I created a series of cohesive designs that placed Jamie’s glowing neon Manipulate logo over the chosen images on a subtly glowing background along with glowing neon squiggles taken from the general Manipulate Arts identity. </div><div><br /></div><div>It’s always a pleasure to see posters designed on a screen as objects in the real world, but this year has had an unexpected pleasure: when the Manipulate posters are seen alongside posters from Pink, Cher, JLS and Bowie, it looks like our colour palette of purple, pink and cyan has (inadvertently) captured the zeitgeist!</div><div><br /></div><div>Find out more about the festival here: <a href="https://www.manipulatearts.co.uk/festival/" target="_blank">www.manipulatearts.co.uk/festival</a></div><div><br /></div><div> </div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJEchEjDk39GwiZwNd7O6wqohpPCyaMTHU9eyOXlm2ob-h3iyhzeM_FnYlYAc1i56T4Oxk139Wmo8QZkWaOv_sY7HHW0BqPTArcRzXeuDjfa-CLEAexFEdP6IbMW3akDsdNFOB9PMpB-v5YpixVY7YOfaJIKkOkrQ2gthCE1a63kNGXwsZbExiV1GC2ps/s1600/Manipulate2024.8.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="4032" data-original-width="3024" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJEchEjDk39GwiZwNd7O6wqohpPCyaMTHU9eyOXlm2ob-h3iyhzeM_FnYlYAc1i56T4Oxk139Wmo8QZkWaOv_sY7HHW0BqPTArcRzXeuDjfa-CLEAexFEdP6IbMW3akDsdNFOB9PMpB-v5YpixVY7YOfaJIKkOkrQ2gthCE1a63kNGXwsZbExiV1GC2ps/s1600/Manipulate2024.8.jpg" /></a></div>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGfnXQCrBGCnSb3H_eLTTZ0iG-60ABWt0Nyg3j9M52AAyYRj62y2OxQQ4VHuWJTNXKzPvo-68RobaOBp-TCcbb3Ijo5wwJidcEs95BYzU8ibz3aeWEZsPPlaYTGzKRVa2lukiV48nRM5OPgXeMhPsHBipkGR8tnDMluHDat4SUoBJJeh4_dRmY2ahcuzU/s1600/Manipulate2024.17.jpg" style="display: block; padding: 1em 0; text-align: left; "><img alt="" border="0" data-original-height="3547" data-original-width="2660" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGfnXQCrBGCnSb3H_eLTTZ0iG-60ABWt0Nyg3j9M52AAyYRj62y2OxQQ4VHuWJTNXKzPvo-68RobaOBp-TCcbb3Ijo5wwJidcEs95BYzU8ibz3aeWEZsPPlaYTGzKRVa2lukiV48nRM5OPgXeMhPsHBipkGR8tnDMluHDat4SUoBJJeh4_dRmY2ahcuzU/s1600/Manipulate2024.17.jpg"/></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-dA0PjjFzipwJt9ez2QAP3lV4T8htGRz0T-pfikF-7rCmLQ3vaw0m9h7-iBUnCbEJ4bsnXyWnF15PTf9izfbGFkUiHIut6WQnpHDRkhvY1Zxnq0xtdFL_cDdbJV0Kln2ivxTTZVTbdF689PBVrHPgXiXE6J_FmEZcKeGnrTJEsKg12XyQTtmkfoxlpY/s1600/Manipulate2024.2.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="3547" data-original-width="2660" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-dA0PjjFzipwJt9ez2QAP3lV4T8htGRz0T-pfikF-7rCmLQ3vaw0m9h7-iBUnCbEJ4bsnXyWnF15PTf9izfbGFkUiHIut6WQnpHDRkhvY1Zxnq0xtdFL_cDdbJV0Kln2ivxTTZVTbdF689PBVrHPgXiXE6J_FmEZcKeGnrTJEsKg12XyQTtmkfoxlpY/s1600/Manipulate2024.2.jpg" /></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJtu0pERa25H_eK2JggdSuCObL7CSa3FIDK2KsQPGz8lqfW9HDEdP7Vl4QGumA9G098T7E0OVusL-hVcQchF7wtvg7NqAqirH5tBC99RplGwA93BFXbQB3hA9tzjMfD1bweUHyh9TQP2aiefyGuAspRSmJxP0LtHHDffQnyJMvd43BWfu8ZJ_KrlWWBx8/s1600/Manipulate2024.1.jpg" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="3426" data-original-width="2570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJtu0pERa25H_eK2JggdSuCObL7CSa3FIDK2KsQPGz8lqfW9HDEdP7Vl4QGumA9G098T7E0OVusL-hVcQchF7wtvg7NqAqirH5tBC99RplGwA93BFXbQB3hA9tzjMfD1bweUHyh9TQP2aiefyGuAspRSmJxP0LtHHDffQnyJMvd43BWfu8ZJ_KrlWWBx8/s1600/Manipulate2024.1.jpg" /></a></div><a href="http://jamesbrookdesign.blogspot.com/2023/01/manipulate-festival-posters.html" target="_blank">Click here to see the posters that I designed for Manipulate Festival 2023.</a><div><br /></div><div><div><br /></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-36219479486688748772024-01-07T00:53:00.000-08:002024-01-10T01:07:40.449-08:00Alberta Whittle: create dangerously<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmN9ACGDPk7uulvOgSESPOhxDpitKANdPak2AEC0TMVk8uQU_ocy8VjNuEnQWaYnTcSQOjCddE-xHXXwZ-CE83XMBXcFG_fHt_ifse5o8xy2baDBLaIcLhlhSQasDqBKZPyE-4wyiuo_8-R_2MybEiyVc8_SuGJ7xDKK8F_K7NpHECd6MxqnJ7cHnwfU/s1600/AlbertaWhittleInstagram21.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmN9ACGDPk7uulvOgSESPOhxDpitKANdPak2AEC0TMVk8uQU_ocy8VjNuEnQWaYnTcSQOjCddE-xHXXwZ-CE83XMBXcFG_fHt_ifse5o8xy2baDBLaIcLhlhSQasDqBKZPyE-4wyiuo_8-R_2MybEiyVc8_SuGJ7xDKK8F_K7NpHECd6MxqnJ7cHnwfU/s1600/AlbertaWhittleInstagram21.png" /></a></div><b>
Alberta Whittle: create dangerously</b><div><br /></div><div><div>Designed by James Brook for National Galleries Scotland, Edinburgh, 2023</div><div><br /></div><div>This is an identity I designed for the exhibition <i>Alberta Whittle: create dangerously</i> at Modern One, National Galleries of Scotland, the largest showing of the artist’s work to date. The exhibition included digital collages, watercolours and new paintings and was an opportunity to see the artist’s tapestry, <i>Entanglement is more than blood</i>, and film installation, <i>Lagareh – The Last Born</i>, which the artist presented at the Venice Biennale in 2022, commissioned by Scotland+Venice.</div><div><br /></div><div>The A0 poster was the starting point for the identity and is based on brand guidelines developed by DNCO, a branding agency based in London and New York. I was asked to develop three possible routes for the design using the new logo, brand colourways and bespoke typeface, Caslon Doric NGS. This was the first time that the branding had been put in to action and formed part of the National Galleries of Scotland major rebrand for 2023, which went live at the end of March, just before this exhibition opened. </div><div><br /></div><div>Working closely with the NGS marketing team, the curators of the exhibition, and the artist and her gallery, I developed and refined three design approaches, eventually settling on one featuring the visually arresting still taken from the artist’s film, <i>Lagareh – The Last Born </i>as the lead image (this was my favourite image and the strongest of the set of images I was given to work with, so I was delighted everyone got on board with it).</div><div><br /></div><div>Once the design of the poster had been finalised I adapted the design to fit the other elements of the brief: a totem (free-standing signage board), 800mm wide x 1510mm high; a private view invitation; and a roadside hoarding, 17,600mm wide x 1220mm high. The posters, hoarding and totems were produced by large format digital print and signage specialists Mackinnon Slater in Edinburgh, and I was very grateful to Colin Mackinnon for his help and advice during the production of the assets, especially the hoarding which is possibly the widest item I have ever designed!</div><div><br /></div><div><br /></div><div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiU_JZIbb7ELVMGDV0OvhPsqP47mr7qwZDTAXggD_VfU3Y8eqAbIiHKfd0mvrxRuHC08OAszb_ep5PfjxoB_Exo64oxhNySA6i7FoYiOAJJAC1TT9I0dIq3stRGCT9YuZ8ZvM6WICYSyEA3V59W5bN18AXo2ec3Omr4JVRP71L-aMsBDkjDBBNoZ6JkEM/s1600/AlbertaWhittleInstagram22.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiU_JZIbb7ELVMGDV0OvhPsqP47mr7qwZDTAXggD_VfU3Y8eqAbIiHKfd0mvrxRuHC08OAszb_ep5PfjxoB_Exo64oxhNySA6i7FoYiOAJJAC1TT9I0dIq3stRGCT9YuZ8ZvM6WICYSyEA3V59W5bN18AXo2ec3Omr4JVRP71L-aMsBDkjDBBNoZ6JkEM/s1600/AlbertaWhittleInstagram22.png" /></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcZhdm8-ZdA52vsvkYS5i2exWxAt2Ma_vDTL1FRSsA7FDpdpX4CuSf6v_v_lMN7bJbgccHPBUbJoijW1VayJZgclxcdKGLa3_22AivGvm5-dJPv8gqLTxl4pgI7bCu1oNPk6Rw0vqnLPSoY_A3Emm5GWuxTD7MwEs_XU6q_mRZbDNN5y3UhQd17hM5W50/s1600/AlbertaWhittleInstagram19.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcZhdm8-ZdA52vsvkYS5i2exWxAt2Ma_vDTL1FRSsA7FDpdpX4CuSf6v_v_lMN7bJbgccHPBUbJoijW1VayJZgclxcdKGLa3_22AivGvm5-dJPv8gqLTxl4pgI7bCu1oNPk6Rw0vqnLPSoY_A3Emm5GWuxTD7MwEs_XU6q_mRZbDNN5y3UhQd17hM5W50/s1600/AlbertaWhittleInstagram19.png" /></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVS_gljhyLBq7HvqIiZ21wbP-1fdfip0uqlpHP8KQbvkHjXbF_ipvYYH76sBTa_o8PTbniO3-CPZdB3A_pY01oa3fkMj7f1HLWqLnnqhnwUN7gI6oqqexyT9sOYYR4c6dsARn889lCPPVUZ9PWClC6UcW0Z5Itv4RQaDLQOgk9qvwfhztUviy4AJMD_F8/s1600/AlbertaWhittleInstagram20.png" style="display: block; padding: 1em 0px; text-align: cleft;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVS_gljhyLBq7HvqIiZ21wbP-1fdfip0uqlpHP8KQbvkHjXbF_ipvYYH76sBTa_o8PTbniO3-CPZdB3A_pY01oa3fkMj7f1HLWqLnnqhnwUN7gI6oqqexyT9sOYYR4c6dsARn889lCPPVUZ9PWClC6UcW0Z5Itv4RQaDLQOgk9qvwfhztUviy4AJMD_F8/s1600/AlbertaWhittleInstagram20.png" /></a></div></div></div><div><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-79317071936591929792023-12-31T08:57:00.000-08:002024-01-09T08:58:50.228-08:00Happy New Year!<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIJgzj7Dgi4Cb-E64F0KAGjdbmgeDatd3mcpAXDbQAKFN_fb3pkjV5cC5KwnYkImSAxj9f9-3K-yJLIc2jm6eI7SFLRm2GNcOwednnHjYwBKRjAbhm0gaYvOtD2ie7jB4L3qzGsSUEMeoVhKpCSdfaUK_UjzJ4PQhII2NNM8Xf2QiGsGLIU_UX7Sc_0xQ/s1600/NYEInstagram.png" style="display: block; 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padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjafSvJGntmFJVeiuCD6SFeC2i2nLwmGSlkShk5z6ABMy3CP75AH7SC9q9SOwyEmD2M2PTZJLWBcAModySkhWfz064fALqY2QMFP6N2OGuHo2YrrsowRBOT_6ldWBlNiDX8O7TuW6NQQ7FqWLJ0wK6T-4zEUFREoOmVSprMLn5W0w3hVZCC48gb_JLCWZo/s1600/GlacierBooklet1.png" /></a><div class="separator" style="clear: both;"><b>End of the Glacier</b></div><div class="separator" style="clear: both;"><b><br /></b></div><div class="separator" style="clear: both;"><b>Alyson Hallett</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Published by the Wilhelmina Barns-Graham Trust, 2023</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Designed by James Brook</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">ISBN 978 1 7384 111 0 8</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Soft cover | 210 x 148mm | 32 pages | Printed by Gomer Print, Wales, on 140gsm Edixion Offset with a cover printed on 250gsm Edixion Offset</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><i>End of the Glacier</i> is a collection of 27 poems by Alyson Hallett written in conversation with the work of Wilhelmina Barns-Graham. </div><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbP54fmMsA6MNzOApjuvEWRqBt-udjVvu2KsRo7Tjl_k29UFlMJaWpKwFNKBsh6yXvIX3Fa3lh23Czd8zNBXpr1qWpbuPwuKQz3nS8pyEIvZfQwFyNI6IF-yeW8TyhjtPWYKcP9ML8kgXn-NMrz0U-OAX-tNI7mKe1zE7ZoKxlnnXy8c7_nnbM038Rsg/s1600/GlacierBooklet2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAbP54fmMsA6MNzOApjuvEWRqBt-udjVvu2KsRo7Tjl_k29UFlMJaWpKwFNKBsh6yXvIX3Fa3lh23Czd8zNBXpr1qWpbuPwuKQz3nS8pyEIvZfQwFyNI6IF-yeW8TyhjtPWYKcP9ML8kgXn-NMrz0U-OAX-tNI7mKe1zE7ZoKxlnnXy8c7_nnbM038Rsg/s1600/GlacierBooklet2.png" /></a></div>
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</a><a href="https://shop.barns-grahamtrust.org.uk/collections/prints" target="_blank">Buy the book here.</a><div><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-26563389191549131452023-10-31T01:27:00.000-07:002024-01-10T02:04:17.611-08:00My Faraway Country: Myanmar by Linda Lewin<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKshW-MJ2n_KSirCDqcx3YRul3kBmtYYQO8atOtqRYdJYzp9X8hu8TUGAlsWfUvQM-DNP1vrqi1pIIcvG6ErOyo8rQCjjqPKrh7vX2ifvKbHnz-_ZgHML_ISbxNVil4mV5F0sXXN_6BGCv4LCN2bRlMO4w9QFtzScvnL5qCPCOJEWh7QoOwdbrsrYUSwQ/s1600/LindaLewinBook1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKshW-MJ2n_KSirCDqcx3YRul3kBmtYYQO8atOtqRYdJYzp9X8hu8TUGAlsWfUvQM-DNP1vrqi1pIIcvG6ErOyo8rQCjjqPKrh7vX2ifvKbHnz-_ZgHML_ISbxNVil4mV5F0sXXN_6BGCv4LCN2bRlMO4w9QFtzScvnL5qCPCOJEWh7QoOwdbrsrYUSwQ/s1600/LindaLewinBook1.png" /></a></div><b>
My Faraway Country: Myanmar </b><div><br /></div><div>Written and illustrated by Linda Lewin</div><div><br /></div><div><div>Published by Golden Hare, Edinburgh, 2023</div><div><br /></div><div>Designed by James Brook</div><div><br /></div><div>ISBN 978 1 8384 0655 4</div><div><br /></div><div><div>Soft cover with wraparound jacket | 254 x 203 mm | 256 pages | Printed and bound by Gomer Press, Wales, on 140gsm Edixion Offset with a cover printed on 300gsm Edixion Offset and a wraparound jacket printed on 140gsm Edixion Offset</div></div><div><br /></div><div><div>A series of stories, told by a range of real and fictive narrators which lyrically evoke the childhoods and the adult adventures and struggles of a Karen family in Myanmar, through the twentieth and into the twenty first century.</div><div><br /></div><div>With vivid and beautiful illustrations, drawn from historic photographs and the work of the artist/author, this book is as illuminating about Myanmar as it is a moving account of an admirably adventurous, enterprising and eccentric family.</div><div><br /></div><div>A poetic and beautifully illustrated account of a family, its adventures and experience, and their country Myanmar.</div></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZ1UupbvphzHTfrZ0w7QmL6P4-Znem31m1LaAmmMYh6o2adJk-6Zr7qktuEGUxDmszQ2SziJAGRbA25yGI-t1t1vZ1j-5gFrJ3-_ZK9lVNYbtKzHn8393NOPhBwO2uhXeIn-_c_SdDj3c70MEn6yQDaY7-14hxE_iK_DVf82_1bVO1xoPi7_kvtoIVLw/s1600/LindaLewinBook2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZ1UupbvphzHTfrZ0w7QmL6P4-Znem31m1LaAmmMYh6o2adJk-6Zr7qktuEGUxDmszQ2SziJAGRbA25yGI-t1t1vZ1j-5gFrJ3-_ZK9lVNYbtKzHn8393NOPhBwO2uhXeIn-_c_SdDj3c70MEn6yQDaY7-14hxE_iK_DVf82_1bVO1xoPi7_kvtoIVLw/s1600/LindaLewinBook2.png" /></a></div>
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<a href="https://goldenharebooks.com" target="_blank">www.lindalewin.com</a><div><br /></div><div><div><b>Linda Lewin:</b> <i>My Faraway Country: Myanmar</i> is my first book and I couldn’t be more pleased with the result. James is an artist and an expert in all details of his trade but most importantly he cared about <i>My Faraway Country: Myanmar</i> as much as I did. He was always there to listen and advise when I needed help but I never felt rushed or pressured. If you are looking for someone who knows how to collaborate and if you want your book to stand out from the crowd James is your man.</div><div><br /></div><div><br /></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-86250418154857971432023-09-19T23:44:00.001-07:002023-09-19T23:44:35.666-07:00From the Archive: System, Chance by Carson & Miller<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXVohrV0ujaeGnemQWEymf8vNchjEj-PpXo6f5KUTBe-TFlFBBurHAj23Hk20Wob65k4_V8odVN-zYNoa6gsglVOprR1wfaaOOjwOzzC2ewTk64YsVtn8WzuA4JE40Cjq8B9pfgt8_JZPMCG8w9OUEEFtJ3qcWY7wFCpainf_HdAMFXl3344FGdZ3GoQ/s1600/SystemChanceInstagramBookSpreads1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXVohrV0ujaeGnemQWEymf8vNchjEj-PpXo6f5KUTBe-TFlFBBurHAj23Hk20Wob65k4_V8odVN-zYNoa6gsglVOprR1wfaaOOjwOzzC2ewTk64YsVtn8WzuA4JE40Cjq8B9pfgt8_JZPMCG8w9OUEEFtJ3qcWY7wFCpainf_HdAMFXl3344FGdZ3GoQ/s1600/SystemChanceInstagramBookSpreads1.png" /></a></div>
<b>System, Chance</b> <div><br /><div>Carson & Miller </div><div><br /></div><div>Published by National Galleries of Scotland, 2016 </div><div><br /></div><div>Designed and typeset by James Brook </div><div><br /></div><div>ISBN 978 1 911054 03 0 </div><div><br /></div><div>Soft cover | 213 x 148 mm | 32 pages | Printed on 160gsm Vision Superior by Allander </div><div><br /></div><div><i>From the National Galleries of Scotland website:</i> ‘This publication is a record of a relationship between an institutional archive and two artists, working in collaboration. The artists Carson & Miller proposed in 2013 that they might pursue their established practice of play and game-playing in the archives of the Scottish National Gallery of Modern Art, and a series of games and play took place during 2014 and 2015 before culminating in the exhibition <i>Archive Games</i>, 11 July – 25 October 2015. </div><div><br /></div><div>Carson & Miller use play and game-play in their collaborative practice as a tool with which to navigate archives and collections, but also as a means of exploring wider archival notions of memory, keeping and caring. These themes are among those investigated in this book.’ </div><div><br /></div><div><br /></div><div>
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This was a really interesting publication to work on: the design brief was extremely detailed and the artists had very clear ideas about how the book should look and function – the artists had already designed a visual essay for the opening pages as well as a cover that marked the start of the visual essay. The brief suggested that the typography and design of the book might reflect the elements of the visual essay. I spent some time thinking about the brief and the contents of the book and arrived at the idea that the book should be set in Courier – the artists had used a collage that included a typewritten text and I liked the connotations of the library and of the archive that the typewritten text carried. As the book was full colour, I was able to use a secondary colour for headings, sub-headings and page numbers: red was the natural choice as it is the second colour on a typewriter – there was also a lot of red in the artists’ visual essay, appearing on storage boxes from the archive.</div><div><br /></div><div>I typeset the chapter headings at an angle to give a punky, playful feel and to reflect the slightly anarchic hand-written texts that the artists had written on the walls in the exhibition at the Gallery of Modern Art. I also liked the secondary connotation of rubber-stamped due dates in library books. In contrast to the chapter headings I typeset the essays in a far more traditional and refined style – the essays included endnotes, references and quotations so this traditional style seemed to suit and created a nice tension on the page with the more playful headings. The essays were aligned left with a ragged right edge and I worked hard to make sure that the line endings were balanced and there were no odd words left hanging.</div><div><br /></div><div>The artists had indicated where images needed to appear in the essays so, in such a modest publication, it was a bit of a jigsaw that required some juggling to respect their wishes. I wanted the images to be at a reasonable and consistent size throughout the book and placed consistently on the page: this helped create a much greater emphasis and tension when one of the images (at the artists’ request) broke this system and appeared at a larger scale and not placed within the text. To make the image captions more distinct from the essay text I used Akzidenz Grotesk Light, which also had the advantage of being more compact than Courier so I was able to fit more text in the available spaces. I also used Akzidenz for the colophon, which appeared on the last page: as it needed to sit next to the notes and references of the final essay, this change of typeface made the break more clear – as did a change in column width.</div><div><br /></div><div>This modest publication was printed on Vision Superior 160gsm by Allander, Edinburgh. The same weight of paper was used for the cover and text pages so that there was no break in the artists’ visual essay, which started on the front cover.</div><div><br />
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This small book of poems, <i>Seeing Things</i>, is a farewell collection by James Greene. Previous publications by Greene include the first collection of his own poetry, <i>Dead-Man’s Fall</i> (published by The Bodley Head 1980) and <i>A Sad Paradise</i> (published by Lines Review Editions, Macdonald 1990) as well as a number of translations of poetry by Russian poet Osip Mandelshtam and others. Greene has written the plays <i>Killing Time in the Kremlin</i> and <i>The Bin</i>, and his work has featured in the London Review of Books. <div><br /></div><div>For this publication, I worked very closely with the poet, his partner Nicky Sherrott and his ‘virtual secretary’ Mae Walsh, working through several options for the layout and design of the book. The book is A5, 210 x 148mm, chosen to match another book of poetry published by Golden Hare, and I worked hard to find a layout that accommodates the length of the longest poems on one page and also accommodates the longest line of each poem without breaking at this size – only one very long poem had to be broken across two pages. </div><div><br /></div><div>The book is typeset in Minion Pro which I selected because of its relatively tall x-height and because of its open character and clarity of reading. The poems are set in 11 point Minion while the secondary information (Acknowledgements, Notes, Contents etc) are typeset in 9.5 point Minion – it was necessary to go smaller on these sections as there was a lot of information to fit in a small space but the positive effect of this is that the poems have precedence because of the larger point size that they are set in. Titles and section headings are typeset in uppercase Century Gothic. A strong underlying grid gives structure to the book and helps unify the different sections. The grid and typography is continued on to the cover and the cover flaps. </div><div><br /></div><div>The cover features a drawing by Ken Kiff given to James Greene. The drawing itself had become stained and discoloured so, working from an image of the drawing I Photoshopped away the staining and removed the drawing from its backgound – I also adjusted the colour balance based on feedback from the poet and his partner. I generated a textured coloured background for the cover which wraps around the front, back and flaps of the cover; I gave several options for the colour but it was this orange that appealed to the poet. The cover is printed on 280gsm Cartel Lumina Silk – it is coated on one side only allowing the cover to be matt laminated but I decided that the white tone of the paper would have sat starkly next to the creamy colour of the text paper, 120gsm Munken Pure Rough, so I suggested that the inside of the cover should be printed in a soft off-white colour that is sampled from the Ken Kiff drawing. This sampled colour also appears on the cover typography.</div><div><br /></div><div>The back cover includes a photograph of the poet, aged two-and-a-half, and there is a reproduction of a drawing by Oskar Kokoschka next to the contents page – both of those images needed some adjusting to make ready for print.</div><div><br /></div><div>This is the first book of poetry that I have designed and I feel privileged to have had some very illuminating conversations with the poet about the typographic layout and form of his poems including an interesting debate about whether some of the poems should be justified left and right and some ranged left (as specified in the poet’s original manuscript). James Greene died on 19 May 2023. I am delighted to have been involved with this ‘farewell collection’.</div><div> </div><div><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeeWztjXPNcO6i2epA3SNsay2-YGADnkjnJOYRzrmHFCYSWWnmPms-PUfqz8fqslPB2l9Udl6SdpK7VaEvjo8N7byB6pCqVrOHderR3F0gkDaxpKIOMpTNX0mm1qiLYOpQg7P8oQW-lQjf6yisUQY9ZhFcQ71TqooQ0liIf_jxejxcrft1Itw4lvsyGB4/s1600/SeeingThings2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeeWztjXPNcO6i2epA3SNsay2-YGADnkjnJOYRzrmHFCYSWWnmPms-PUfqz8fqslPB2l9Udl6SdpK7VaEvjo8N7byB6pCqVrOHderR3F0gkDaxpKIOMpTNX0mm1qiLYOpQg7P8oQW-lQjf6yisUQY9ZhFcQ71TqooQ0liIf_jxejxcrft1Itw4lvsyGB4/s1600/SeeingThings2.png" /></a></div>
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Perspectives Issue 3: Memorials and Memories </b><div><br /></div><div>Published by Haileybury, 2023 </div><div><br /></div><div>Editor: Toby Parker </div><div><br /></div><div>Contributors: Jeanette Wight</div><div><br /></div><div>Photography: Steve Beeston </div><div><br /></div><div>Designed by James Brook </div><div><br /></div><div>210mm x 245mm | 48 pages | Printed on 150 gsm Edixion Offset with 300 gsm machine-sealed soft cover by Gomer, Wales </div><div><br /></div><div>This is the third issue of <i>Perspectives</i>, a magazine that I designed, published by Haileybury School. The publication was developed from a desire to showcase the school’s heritage, current academic and cultural issues and new research about the school’s collections. Edited by Toby Parker, Director of Learning and Research at Haileybury, the magazine has been established in order to examine its role in a variety of cultural practices and issues, and to think critically about the way in which it interacts with other cultural institutions locally, nationally and globally. </div><div><br /></div><div><i>Perspectives</i> is published quarterly with issues in Spring, Summer, Autumn and Winter. Each issue is themed, with this one titled ‘Memorials and Memories’. This issue is the biggest issue to date with 48 pages and includes an extended essay, in three parts, that examines the legacy of the architect Herbert Baker. It was interesting to use the design and layout of the magazine – established in the previous two issues – and push it in a different direction. The client and myself are really pleased with the design of this issue and I think it proves the versatility of the original design.</div><div><br /></div><div>The design is based around a flexible layout that can accommodate different types of information, giving each section of the magazine its own distinct identity. The basic layout is a three column grid with type arranged on one or two columns giving a variety that helps differentiate each article. Titles, body text and images are often hung from a guideline that runs through the magazine giving a sense of order which is occasionally broken to create emphasis or visual energy. I have used type at different sizes, weights and combinations to create interesting titles and headers, arranged in sometimes playful ways with the text and images. </div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEEjmDb5R5TeXwFiSlcLLTUmCKl3CUV0fhHtw6no5C7y3hF28RWdNRJk8bc1fFyDpMof9zZBSwqone1YcXIe0XPgBMMPiOI0of0HgFatSXVM2J1pgMRTfwih3jdgQEXxRujvoCe7kfbcgY-8Y9Jh-VRvR4trnByDWF5f_m5-lcRk656uy0RL9kRmVI1Qs/s1600/PerspectivesIssue3Spreads2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEEjmDb5R5TeXwFiSlcLLTUmCKl3CUV0fhHtw6no5C7y3hF28RWdNRJk8bc1fFyDpMof9zZBSwqone1YcXIe0XPgBMMPiOI0of0HgFatSXVM2J1pgMRTfwih3jdgQEXxRujvoCe7kfbcgY-8Y9Jh-VRvR4trnByDWF5f_m5-lcRk656uy0RL9kRmVI1Qs/s1600/PerspectivesIssue3Spreads2.png" /></a></div>
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<b>DIY Art: A Float for the Future by Pester & Rossi </b><div><br /></div><div>
Designed by James Brook for Edinburgh Art Festival, 2022 </div><div><br /></div><div>Booklet | 297 x 210 mm | 14 pages </div><div>Printed by Edinburgh Copyshop on 120 gsm matt digital stock </div><div><br /></div><div>Since 2020, I have been collaborating with Holly Yeoman of the Community Engagement team at Edinburgh Art Festival on DIY Art, a series of activity packs from EAF and selected artists, that invite people to get creative at home. The instructional creativity kits give insights into an artist’s practice, showing how to use their processes and techniques to create unique artworks. </div><div><br /></div><div>This is <i>A Float for the Future</i> by artists Pester & Rossi, a creativity kit for ages 11+ and their families that presents illustrated instructions of how to make a mini float for the future inspired by outdoor green spaces. </div><div><br /></div><div>Pester and Rossi’s work, <i>A Float for the Future</i>, was a community made raft created by people from Wester Hailes in response to living, working and playing on the Union Canal. It was launched during their 2022 event <i>Setting Sail</i>, as part of <i>Finding Buoyancy</i>. </div><div><br /></div><div><a href="http://www.edinburghartfestival.com" target="_blank">www.edinburghartfestival.com</a></div><div>
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</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-88289321327956169752023-04-24T23:24:00.001-07:002023-07-13T03:39:43.745-07:00Alberta Whittle Poster<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXXbKsOYelK9BX9LVzy0b6bAiycxRDcdcsWuBghIc9ZhNERNmBzDPddkvSDT_J9qH87qO_JB8oyCyISKFClACqYKA0JX9m2QHnxwa6ljR3DRQEQtD0U56afc_oJsT8LivdyHYt0vibQRrymt-PACRR1NgZp5JYtyniAK72DuV3rZaKm34k5hLlV8fI/s1600/AlbertaWhittleInstagram1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXXbKsOYelK9BX9LVzy0b6bAiycxRDcdcsWuBghIc9ZhNERNmBzDPddkvSDT_J9qH87qO_JB8oyCyISKFClACqYKA0JX9m2QHnxwa6ljR3DRQEQtD0U56afc_oJsT8LivdyHYt0vibQRrymt-PACRR1NgZp5JYtyniAK72DuV3rZaKm34k5hLlV8fI/s1600/AlbertaWhittleInstagram1.png" /></a></div><b>
Alberta Whittle: create dangerously</b><div><br /></div><div><div>Designed by James Brook for National Galleries Scotland, Edinburgh, 2023</div><div><br /></div><div>This is a poster I designed as part of an identity for the exhibition <i>Alberta Whittle: create dangerously</i> at Modern One, National Galleries of Scotland, the largest showing of the artist’s work to date. The exhibition includes digital collages, watercolours and new paintings and offers an opportunity to see the artist’s tapestry, <i>Entanglement is more than blood</i>, and film installation, <i>Lagareh – The Last Born</i>, which the artist presented at the Venice Biennale in 2022, commissioned by Scotland+Venice.</div><div><br /></div><div>The A0 poster is based on brand guidelines developed by DNCO, a branding agency based in London and New York. I was asked to develop three possible routes for the design using the new logo, brand colourways and bespoke typeface, Caslon Doric NGS. This is the first time that the branding has been put in to action on an exhibition poster and forms part of the National Galleries of Scotland major rebrand for 2023. </div><div><br /></div><div>Working closely with the NGS marketing team, the curators of the exhibition, and the artist and her gallery, I developed and refined three design approaches, eventually settling on one featuring the visually arresting still taken from the artist’s film, <i>Lagareh – The Last Born </i>as the lead image (this was my favourite image and the strongest of the set of images I was given to work with so I am delighted everyone got on board with it).</div><div><br /></div><div>Once the design of the poster had been finalised I adapted the design to fit the other elements of the brief: a totem (free-standing signage board), 800mm wide x 1510mm high; a private view invitation; and a roadside hoarding, 17,600mm wide x 1220mm high. The posters, hoarding and totems were produced by large format digital print and signage specialists Mackinnon Slater in Edinburgh, and I was very grateful to Colin Mackinnon for his help and advice during the production of the assets, especially the hoarding which is possibly the widest item I have ever designed!</div><div><br /></div><div>The new National Galleries Scotland branding was launched at the end of March 2023, coinciding with the opening of Alberta’s exhibition. Installation of the posters and hoarding took place in mid-February so, in order to keep the branding undercover until the date of the launch, I had to devise a series of stickers that covered over the new NGS logo with a ‘coming soon’ flash; these stickers were removed at the end of March. In addition, the private view invitation could not feature the new NGS logo as originally planned so I had to do a last minute re-design to include the old NGS logo (below is the version of the private view invitation as originally designed with the new logo).</div><div><br /></div><div><br />
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<b>The Marvellous Miss Macbeths: Five Victorian Sisters</b> <div><br /><div>Angelica Goodden </div><div><br /></div><div>Published by Golden Hare, Edinburgh, 2023 </div><div><br /></div><div>Designed by James Brook </div><div><br /></div><div>ISBN 978 1 8384 0653 0 </div><div><br /></div><div>Paperback with flaps | 234 x 156mm | 312 pages | Printed by Gomer Print, Wales, on 120gsm Edixion Offset with anti-scuff laminated cover printed on 350gsm Claro Silk </div><div><br /></div><div>The Macbeth Sisters are the five strong and resourceful daughters of liberal Scottish parents in a big Victorian middle-class family with art, science and manufacture at its heart. Their lives play out over a hundred years of social and political revolution that sees women’s emancipation, imperial decline and the dawn of modernity. </div><div><br /></div><div>Angelica Goodden, one of Sheila Macbeth’s four granddaughters, is Emeritus Professor of Modern Languages at the University of Oxford and Fellow of St Hilda’s College. Among her many books on European culture and literature are biographies of the artists Elisabeth Louise Vigée Le Brun and Angelica Kauffman along with monographs on Jean-Jacques Rousseau, Denis Diderot and the writer and thinker Germaine de Staël. </div><div><br /></div><div>The design of the book is a contemporary take on a Victorian book layout. The text is justified left and right, and typeset in Baskerville with increased leading to allow the words space to breathe. Images are centred on the page with captions typeset in Scotch Roman Italic whose quirky character give a contrast to the more formal chapter titles which are set in uppercase Scotch Roman with fine rules separating the chapter number and title giving another nod to Victorian book design. The book is printed on Edixion Offset, an uncoated paper with a pleasing texture and a clean whiteness that adds a contemporary feel and allows the images to shine. </div><div><br /></div><div>The images themselves were of varying quality with many of them of quite low resolution and not much detail. Unfortunately, better quality images were not available so I did a lot of work to make the images print-ready, cleaning them up and adding Photoshop filters to compensate for the lack of detail. For the image on the cover, after cleaning up the scratches and dirt that was on the surface of the original photograph, I added a duotone layer to give the photograph a greater depth and to add a bit of colour. </div><div><br /></div><div>The cover typography uses Scotch Roman in title case for the title of the book alongside the author’s name and subtitle in uppercase following the format of the chapter titles inside. At this size, the lowercase characters of Scotch Roman have an enticing sparkle and friendliness that creates a tension with the more rigid formality of the uppercase letters giving the viewer a sense that this is a history book but one that has a warmth at its core, revealing the extraordinary lives of these five wonderful women.</div><div><br /></div><div><a href="The%20Macbeth%20Sisters%20are%20the%20five%20strong%20and%20resourceful%20daughters%20of%20liberal%20Scottish%20parents%20in%20a%20big%20Victorian%20middle-class%20family%20with%20art,%20science%20and%20manufacture%20at%20its%20heart.%20Their%20lives%20play%20out%20over%20a%20hundred%20years%20of%20social%20and%20political%20revolution%20that%20sees%20women’s%20emancipation,%20imperial%20decline%20and%20the%20dawn%20of%20modernity.%C2%A0%20%20Angelica%20Goodden,%20one%20of%20Sheila%20Macbeth’s%20four%20granddaughters,%20is%20Emeritus%20Professor%20of%20Modern%20Languages%20at%20the%20University%20of%20Oxford%20and%20Fellow%20of%20St%20Hilda’s%20College.%20Among%20her%20many%20books%20on%20European%20culture%20and%20literature%20are%20biographies%20of%20the%20artists%20Elisabeth%20Louise%20Vigée%20Le%20Brun%20and%20Angelica%20Kauffman%20along%20with%20monographs%20on%20Jean-Jacques%20Rousseau,%20Denis%20Diderot%20and%20the%20writer%20and%20thinker%20Germaine%20de%20Staël.%20%20The%20design%20of%20the%20book%20is%20a%20contemporary%20take%20on%20a%20Victorian%20book%20layout.%20The%20text%20is%20justified%20left%20and%20right,%20and%20typeset%20in%20Baskerville%20with%20increased%20leading%20to%20allow%20the%20words%20space%20to%20breathe.%20Images%20are%20centred%20on%20the%20page%20with%20captions%20typeset%20in%20Scotch%20Roman%20Italic%20whose%20quirky%20character%20give%20a%20contrast%20to%20the%20more%20formal%20chapter%20titles%20which%20are%20set%20in%20uppercase%20Scotch%20Roman%20with%20fine%20rules%20separating%20the%20chapter%20number%20and%20title%20giving%20another%20nod%20to%20Victorian%20book%20design.%20The%20book%20is%20printed%20on%20Edixion%20Offset,%20an%20uncoated%20paper%20with%20a%20pleasing%20texture%20and%20a%20clean%20whiteness%20that%20adds%20a%20contemporary%20feel%20and%20allows%20the%20images%20to%20shine.%20%20The%20images%20themselves%20were%20of%20varying%20quality%20with%20many%20of%20them%20of%20quite%20low%20resolution%20and%20not%20much%20detail.%20Unfortunately,%20better%20quality%20images%20were%20not%20available%20so%20I%20did%20a%20lot%20of%20work%20to%20make%20the%20images%20print-ready,%20cleaning%20them%20up%20and%20adding%20Photoshop%20filters%20to%20compensate%20for%20the%20lack%20of%20detail.%20For%20the%20image%20on%20the%20cover,%20after%20cleaning%20up%20the%20scratches%20and%20dirt%20that%20was%20on%20the%20surface%20of%20the%20original%20photograph,%20I%20added%20a%20duotone%20layer%20to%20give%20the%20photograph%20a%20greater%20depth%20and%20to%20add%20a%20bit%20of%20colour.%20%20The%20cover%20typography%20uses%20Scotch%20Roman%20in%20title%20case%20for%20the%20title%20of%20the%20book%20alongside%20the%20author’s%20name%20and%20subtitle%20in%20uppercase%20following%20the%20format%20of%20the%20chapter%20titles%20inside.%20At%20this%20size,%20the%20lowercase%20characters%20of%20Scotch%20Roman%20have%20an%20enticing%20sparkle%20and%20friendliness%20that%20creates%20a%20tension%20with%20the%20more%20rigid%C2%A0formality%20of%20the%20uppercase%20letters%20giving%20the%20viewer%20a%20sense%20that%20this%20is%20a%20history%20book%20but%20one%20that%20has%20a%20warmth%20at%20its%20core,%20revealing%20the%20extraordinary%20lives%20of%20these%20five%20wonderful%20women.%20%20www.goldenharebooks.com" target="_blank">www.goldenharebooks.com</a></div><div><br /></div><div><br />
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<b>Angelica Goodden:</b> James designed my book <i>The Marvellous Miss Macbeths</i> absolutely beautifully — in fact nothing I’ve published has ever looked this good. He let me say exactly what I wanted about cover image and general layout plus typographical detail, and where he disagreed with my views he gently (and rightly) persuaded me that his were slightly better. I’ve never had as much input into the look of a publication, and am absolutely delighted as well as deeply impressed by the result.
</div></div><div><br /></div><div><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-57144315563215305352023-03-10T05:22:00.012-08:002023-03-10T05:26:17.107-08:00Field Guide Booklet<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH1Hk1nvzYnFAyXslDxdHsogRKklHGDFhS6MtsW9YhWEi9xB-Tl9p-23bX_ZvAkbXA8NAMqXhMgLf5Xn3RWC6HGKFRVHX5KxWKbSLsHkBjz7GifkC8BdD2dgvt5ZGqgFt62eXM3uFjDHYyqH2nMoNQ9j-Ak-MbTPIfGzqdZQY6L3_XDvf2moSnK4zF/s1600/FieldGuide1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH1Hk1nvzYnFAyXslDxdHsogRKklHGDFhS6MtsW9YhWEi9xB-Tl9p-23bX_ZvAkbXA8NAMqXhMgLf5Xn3RWC6HGKFRVHX5KxWKbSLsHkBjz7GifkC8BdD2dgvt5ZGqgFt62eXM3uFjDHYyqH2nMoNQ9j-Ak-MbTPIfGzqdZQY6L3_XDvf2moSnK4zF/s1600/FieldGuide1.png" /></a></div>
<b>Field Guide Booklet</b> <div><br /></div><div>Designed by James Brook for Madeira Interactive Technologies Institute and the Azorean Biodiversity Group at the University of the Azores, Portugal, 2022 </div><div><br /></div><div>In 2021, I was commissioned to design the visual identity and interface for an app that was developed as part of <i>Guia de Campo</i> (Field Guide), an environmental education research project. The central feature of the identity is the <i>Guia de Campo</i> logo, a circle split in to two equal parts along the horizon, and coloured blue and green – a simplified echo of the landscape of the Azores. The logo appears on a grey background with the name ‘Guia de Campo’ reversed out and typeset in Roboto regular, which fitted the design brief which had specified a clean, contemporary typeface. </div><div><br /></div><div>A year after the app was completed and with the project coming to a close, I was invited to design a report about the Field Guide project based on the identity that I had developed for the app. The report was typeset in different weights of Roboto and used the three colours that I had specified for the app: blue, green and grey alongside illustrations by Carolina Celas, that had been used in other iterations of the project. </div><div><br /></div><div>For a more in-depth discussion of my approach to the design of the visual identity for the interface of the app click <a href="http://jamesbrookdesign.blogspot.com/2021/03/guia-de-campo-app.html" target="_blank">here</a>.</div><div><br /></div><div>Project website: https://field-guide.info</div><div><br />
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<b>Airshow 2014 Programme </b><div><br /></div><div>
Designed by James Brook for National Museum of Flight Scotland, 2014. </div><div><br /></div><div>Published by National Museums Scotland. </div><div><br /></div><div>Book | 44 pages | 14.8 x 21 cm | Printed by Allander, Edinburgh on Hello Silk with gloss laminate cover</div><div><br /></div><div><div>I was approached by National Museums Scotland to redesign the programme for the annual airshow at the National Museum of Flight at East Fortune in East Lothian. My brief was to rationalise the design of the programme and make it feel more clean and contemporary with emphasis on the images, and to also make it feel more like a substantial, quality publication – more of a book/catalogue than a programme. </div><div><br /></div><div>The programme had previously been designed at A4 so, with the agreement of the Museum, I designed the programme at A5 but with double the amount of pages, which immediately made the programme feel less flimsy but didn’t increase the print costs. The programme was typeset in FS Albert, the NMS typeface, with simple and clear layouts and plenty of white space that displayed the images at their best. I removed any unnecessary elements that had been included in previous programme designs from the layouts, stripping them back to text and image. I usually work with images by artists so working with images of planes was slightly outside my area of expertise! But, applying the same approach to the images as I would images by artists, I created layouts where there was (I hope) a dialogue between the images and a sense of movement on the pages.</div><div><br /></div></div><div>
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The programme opened on to a double-page spread of sky blue with the title repeated from the cover; the programme had to contain advertisements, which paid for some of the printing costs, so I grouped all the adverts together, at the back of the programme, separated from the main copy by two pages of sky blue, one with the Museum of Flight logo, that acted like endpapers in a book. The title page and endpapers carried connotations of a more traditional book and slowed down the reader’s journey through the programme, creating, I think, a sense of anticipation for when the first images appear, on page 10, after pages of flight times, list of contents, introductions, acknowledgements and timetables, which were all laid out in a clear, rational and user-friendly design. </div><div><br /></div><div>Other elements of the design included a map of the airfield which appeared on the back cover. I slightly rationalised the design of the map, removing some of the elements and changing the colours to make it more user-friendly. There was also a timetable of flight times which was originally planned a separate piece of print but, as the times were confirmed just before we went to print, we were able to include the timetable at the very last minute. </div><div><br /></div><div>I was given a free ticket to the airshow, which turned out to be a great day out on a beautifully sunny day. I got to see and go inside Concorde! It was incredibly exciting to see the Red Arrows display roaring overhead and a delight to see the programme that I had designed being put to use – I don't usually get to see my designs being used, by so many people, in such a visible way. Afterwards, I found out that sales of the programme had increased substantially from previous years, which seemed to validate the design changes that we had introduced.</div><div><br />
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsufvJk-oupZPzoqlaoDvAaJR00enrMFwu5A5Zl6imJIkSy5R_JQPACE0MaR1Gtl8YzvnHyMEIn4Ybia94rXC3z2lWc3OttEOR6lrAE-XOEqN_Hl6JOGqT5InauzFXkky3nbV3dBU2Ty7BlDFVY2gN2vDXEFwgEeBs21gDCBr9qJ3ppmQaJRWm4X2L/s1600/Airshow10.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsufvJk-oupZPzoqlaoDvAaJR00enrMFwu5A5Zl6imJIkSy5R_JQPACE0MaR1Gtl8YzvnHyMEIn4Ybia94rXC3z2lWc3OttEOR6lrAE-XOEqN_Hl6JOGqT5InauzFXkky3nbV3dBU2Ty7BlDFVY2gN2vDXEFwgEeBs21gDCBr9qJ3ppmQaJRWm4X2L/s1600/Airshow10.png" /></a></div><div><br /></div><br /></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-87577191766281805262023-02-03T04:50:00.009-08:002023-02-03T04:53:38.521-08:00Manipulate Festival Digital And Screen Assets<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAzU1esPtsjgqj9q5aiNjAsOWgcB59Iqd9ju5jQ9Agsp5R81n88f6UqBP0chZ7QidrODzh0Wych1KEminfyjwHeY-duRaUtveokXTDxMxCS_ckW7CmffpKPBnbCtRwZXtrX8lBEiGJGmiR4zWXfDNsRf3C3EEWU5Rq9zoO9cQhJ4v78tNUhvoriiZY/s1600/ManipulateDigitalAssets1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAzU1esPtsjgqj9q5aiNjAsOWgcB59Iqd9ju5jQ9Agsp5R81n88f6UqBP0chZ7QidrODzh0Wych1KEminfyjwHeY-duRaUtveokXTDxMxCS_ckW7CmffpKPBnbCtRwZXtrX8lBEiGJGmiR4zWXfDNsRf3C3EEWU5Rq9zoO9cQhJ4v78tNUhvoriiZY/s1600/ManipulateDigitalAssets1.png" /></a></div>
These are some of the digital and screen assets that I designed for MANIPULATE, Edinburgh’s international festival of visual theatre and animated film. The festival presents the very best of Scottish and international visual theatre, puppetry and animated film to adult audiences in Edinburgh and beyond. The assets include digital posters, in vertical and horizontal formats, shown on screens at the Festival Theatre and at the Traverse theatre; The Skinny website ‘takeover’; website announcements; and social media assets. <div><br /><div>The assets are part of a wider identity that I have designed for MANIPULATE that has been adapted for a suite of deliverables including a programme guide, posters of various sizes, lanyards and online and printed advertisements.</div><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyYEt6WPq0_xR4mXecziXz8q5YbmUYfMHBVW0dowI7XKNmwQLg60sibZaYMgCgZY1Brw9ryXNob__17EGBIDXr250csliY8VZxbtKpVt5uBJDZ_DlzYxGoa5cOdJ5rDChYs9WOJLU8oTvKIy344imFm-FIUgzGD_s3e5oM5slxZuB6TQXKke_FdaEZ/s1600/ManipulateDigitalAssets2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyYEt6WPq0_xR4mXecziXz8q5YbmUYfMHBVW0dowI7XKNmwQLg60sibZaYMgCgZY1Brw9ryXNob__17EGBIDXr250csliY8VZxbtKpVt5uBJDZ_DlzYxGoa5cOdJ5rDChYs9WOJLU8oTvKIy344imFm-FIUgzGD_s3e5oM5slxZuB6TQXKke_FdaEZ/s1600/ManipulateDigitalAssets2.png" /></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUqyL_ebouEqAXJ15YALeLzO6yNclNl9JScHSOeNx5ZGB2CGoQH3hXTZNXMH6qcOlnjXEF_dGwFU5hERkBfUJKlKIi0KDSC5k2nCJq4aSNV19BtVlcdGUOkv6F-wIpZVBVAeMYPz7P6aBQMFUwiGWoq43vPHP4cJzz9uq3S4wwh_Ju5Vq4sPaBuS8S/s1600/ManipulateDigitalAssets3.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUqyL_ebouEqAXJ15YALeLzO6yNclNl9JScHSOeNx5ZGB2CGoQH3hXTZNXMH6qcOlnjXEF_dGwFU5hERkBfUJKlKIi0KDSC5k2nCJq4aSNV19BtVlcdGUOkv6F-wIpZVBVAeMYPz7P6aBQMFUwiGWoq43vPHP4cJzz9uq3S4wwh_Ju5Vq4sPaBuS8S/s1600/ManipulateDigitalAssets3.png" /></a></div>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_By41qmSwbzylXeP_7_sIarrQIMbfxD6QRnoz3IZTL7yHy5iyQOfgECr0AgOrlY8qGnpoBUQOXEa3sLhdRQW313W4wCVgTvJ1eHd_KCCsFh8O-UuZI7vjMpF_i4v_PeAPznI1KEEQYz9u5kaRZmJtPDcpiYYqokOACGxBe3QcHekXrYSWfJ3hUMs-/s1600/ManipulateDigitalAssets5.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_By41qmSwbzylXeP_7_sIarrQIMbfxD6QRnoz3IZTL7yHy5iyQOfgECr0AgOrlY8qGnpoBUQOXEa3sLhdRQW313W4wCVgTvJ1eHd_KCCsFh8O-UuZI7vjMpF_i4v_PeAPznI1KEEQYz9u5kaRZmJtPDcpiYYqokOACGxBe3QcHekXrYSWfJ3hUMs-/s1600/ManipulateDigitalAssets5.png" /></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEH14tfI4HI0_b1SIV48HE5cKQPcQiv3w4JSLUWXXINbFt9qVZhMzPgjRF--GsZQLLfEx-J6KGxoz35sjb5zYihn6iLSZ-NeUu0G4K6cDhaodjWPAAZmogUYZ8aoML3LBHgjF0W4bWThvNIoYHkyzhuYnaH8z3KHtf0dKYKPFzXgwVMVg3c2ukw2N_/s1600/ManipulateDigitalAssets6.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEH14tfI4HI0_b1SIV48HE5cKQPcQiv3w4JSLUWXXINbFt9qVZhMzPgjRF--GsZQLLfEx-J6KGxoz35sjb5zYihn6iLSZ-NeUu0G4K6cDhaodjWPAAZmogUYZ8aoML3LBHgjF0W4bWThvNIoYHkyzhuYnaH8z3KHtf0dKYKPFzXgwVMVg3c2ukw2N_/s1600/ManipulateDigitalAssets6.png" /></a></div>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheVkP4bcSsib_onasu2ulwjjasLRFDpQHHwDKXe6RDch4ErTt0tdbHIs3IsvTBDaxmNLB5HujJ1mAL8E-55qXYWJjVl9tvscLjTfzOpL5i_G7MdtmeyRqlIcT6RTm2QFd31Ax1YcdhWVmqUQT-oi3zlr401fcmFjKjyfo8AfpI-I1ZM9TVd32gjEGt/s1600/ManipulateDigitalAssets7.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheVkP4bcSsib_onasu2ulwjjasLRFDpQHHwDKXe6RDch4ErTt0tdbHIs3IsvTBDaxmNLB5HujJ1mAL8E-55qXYWJjVl9tvscLjTfzOpL5i_G7MdtmeyRqlIcT6RTm2QFd31Ax1YcdhWVmqUQT-oi3zlr401fcmFjKjyfo8AfpI-I1ZM9TVd32gjEGt/s1600/ManipulateDigitalAssets7.png" /></a></div><div><br /></div><br /></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-38323590298991920542023-02-03T04:42:00.003-08:002023-02-03T04:55:18.292-08:00Manipulate Festival Programme Guide<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMzl7N0i8NSfggvTdo3jiXi70RH50aikiGiATzGrMSFcCKPtkyWlihmJn-xMz7FE6nuJbHhr7ZlZZmalA2xuE0HSs_Y2mgM7QbXpn3kyycjXyB0Cwlh25sbjsvMhNtvAmmNAQlKSO99A68_oXC4ogwYfAWW2l1twLW7rDkn9ZAfSKG4XXQekxqzWO/s1600/ManipulatePrintedProgramme1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMzl7N0i8NSfggvTdo3jiXi70RH50aikiGiATzGrMSFcCKPtkyWlihmJn-xMz7FE6nuJbHhr7ZlZZmalA2xuE0HSs_Y2mgM7QbXpn3kyycjXyB0Cwlh25sbjsvMhNtvAmmNAQlKSO99A68_oXC4ogwYfAWW2l1twLW7rDkn9ZAfSKG4XXQekxqzWO/s1600/ManipulatePrintedProgramme1.png" /></a></div>
This is a programme guide that I designed for MANIPULATE, Edinburgh’s international festival of visual theatre and animated film. The festival presents the very best of Scottish and international visual theatre, puppetry and animated film to adult audiences in Edinburgh and beyond. The programme guide is 4 pages, A4 folded to A5 and was printed by Allander, Edinburgh on a silk coated paper.<div><br /></div><div>The programme guide is part of a wider identity that I have designed for MANIPULATE that has been adapted for a suite of deliverables including posters of various sizes, online and printed advertisements, social media assets, digital posters, lanyards, and a ‘takeover’ of The Skinny website. <br /><div><br />
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeqWToApPY87RYnGmIltBAjb5ozBWhAknRHTFdViHFt-WdD9Dvza8qQbDqQtXz0NHxMtehLWmyVExtOiBPqQozeW3J_YWNmAjqOBgv1o3-ry4213F4aLZUsFQI6PGWLmCEWmyhPVzCWUxNo3VJX5JZDATwDffJ9rWCsgI28be-oPus2xLQO_fq1lcj/s1600/ManipulatePrintedProgramme2.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeqWToApPY87RYnGmIltBAjb5ozBWhAknRHTFdViHFt-WdD9Dvza8qQbDqQtXz0NHxMtehLWmyVExtOiBPqQozeW3J_YWNmAjqOBgv1o3-ry4213F4aLZUsFQI6PGWLmCEWmyhPVzCWUxNo3VJX5JZDATwDffJ9rWCsgI28be-oPus2xLQO_fq1lcj/s1600/ManipulatePrintedProgramme2.png" /></a></div>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgybi_ImjO5hiv8RVmPDxvJa1BxP5H-IHgOGOhbowA_C4VrxYOcpGDzxst0GfvDHLx-3wn_KiOWOIqXvE606HrHq6gyyft8GREy0XkcP_i5_nGS6D6aBEleOXtP-SzzBupjYdLAQgZtw6FskolofhPC3Woz964AjT-6yPsMFUW-7jkMET9C29_kUfTj/s1600/ManipulatePrintedProgramme4.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgybi_ImjO5hiv8RVmPDxvJa1BxP5H-IHgOGOhbowA_C4VrxYOcpGDzxst0GfvDHLx-3wn_KiOWOIqXvE606HrHq6gyyft8GREy0XkcP_i5_nGS6D6aBEleOXtP-SzzBupjYdLAQgZtw6FskolofhPC3Woz964AjT-6yPsMFUW-7jkMET9C29_kUfTj/s1600/ManipulatePrintedProgramme4.png" /></a></div><div><br /></div><br /></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-8585442530282596962023-02-03T04:36:00.006-08:002023-02-03T04:55:48.509-08:00Manipulate Festival Posters<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0FDLZ1xzP9Ciu4aO3mT-AsJnSu20spDz9q9tOuHhgeHz5m4rgFJ0m7hqXZH2rvjqNaxZdRCdvTzrwK6F1rkbSSOlaVIld2AYXAFxlepBGrMME5nOjUzCZxvHQnpPBaip1JAow5k93ORJSpD681LBMLw5KL8fe3aHpyxFr9YfhaDm1ZHsFTmlVSIQr/s1600/ManipulatePosters1.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0FDLZ1xzP9Ciu4aO3mT-AsJnSu20spDz9q9tOuHhgeHz5m4rgFJ0m7hqXZH2rvjqNaxZdRCdvTzrwK6F1rkbSSOlaVIld2AYXAFxlepBGrMME5nOjUzCZxvHQnpPBaip1JAow5k93ORJSpD681LBMLw5KL8fe3aHpyxFr9YfhaDm1ZHsFTmlVSIQr/s1600/ManipulatePosters1.png" /></a></div>
This is a series of posters that I designed for MANIPULATE, Edinburgh’s international festival of visual theatre and animated film. The festival presents the very best of Scottish and international visual theatre, puppetry and animated film to adult audiences in Edinburgh and beyond. The posters are various sizes from A3 to A0 as well as some irregular formats.<div><br /></div><div>The posters are part of a wider identity that I have designed for MANIPULATE that has been adapted for a suite of deliverables including a programme guide, online and printed advertisements, social media assets, digital posters, lanyards, and a ‘takeover’ of The Skinny website. <br /><div><br />
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</div><div><br /></div><br /></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-18853037487730126862023-01-26T04:07:00.002-08:002023-01-26T04:07:16.400-08:00From the Archive: Dovecot What's On Guide | January-June 2018<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivLomRk-Cs5cffbOLLfyvEpf5r7-EEKLpep1wdhVEHPx5m7GVDSm74fGNsUBLBH1YNwIhWxZrSjKvNRzZScKuZQ06PL7cnvCt-L3WfuqkGfjx3y4qcuiv8bDWBdg_ht2Gabg4rX3aTxKtamvYEqG2WFTIrJBg0TGuJGb7PPNT1lkDQvqo76hUP_aMA/s1600/DovecotGuide21.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivLomRk-Cs5cffbOLLfyvEpf5r7-EEKLpep1wdhVEHPx5m7GVDSm74fGNsUBLBH1YNwIhWxZrSjKvNRzZScKuZQ06PL7cnvCt-L3WfuqkGfjx3y4qcuiv8bDWBdg_ht2Gabg4rX3aTxKtamvYEqG2WFTIrJBg0TGuJGb7PPNT1lkDQvqo76hUP_aMA/s1600/DovecotGuide21.png" /></a></div>
<b>Dovecot What’s On Guide | January-June 2018</b> <div><br /></div><div>One of a series designed by James Brook for Dovecot Studios, Edinburgh.</div><div><br />
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This is a series of posters that I designed for MANIPULATE, Edinburgh’s international festival of visual theatre and animated film. The festival presents the very best of Scottish and international visual theatre, puppetry and animated film to adult audiences in Edinburgh and beyond. Here are the posters in situ, all around Edinburgh. <div><br /></div><div>The posters are part of a wider identity that I have designed for MANIPULATE that has been adapted for a suite of deliverables including a programme guide, posters of various sizes, online and printed advertisements, social media assets, digital posters, lanyards, and a ‘takeover’ of The Skinny website. As well as a general poster, there are a further five posters promoting individual shows and events at venues in Edinburgh including Fruitmarket, National Library of Scotland, Traverse Theatre, Summerhall and the Festival Theatre.</div><div><br /></div><div>The starting point for the identity was an animation of the MANIPULATE logo created by Jamie Macdonald that was used as an ident to announce the festival. Taking inspiration from Jamie’s animation, I created a background image of a galaxy of stars featuring green clouds – green being one of the colours in the animation and selected by the MANIPULATE team to be a key colour. Along with the MANIPULATE logo, this background appears in all of the assets that I have designed, creating a cohesive and distinct set of visuals. </div><div><br /></div><div>The posters have been designed in sizes ranging from A3 to A0 but these ones were printed by the arts agency Jack Arts and measure 1016 mm w x 1524 mm. As a designer, it’s always exciting to see things as full size objects in the real world having designed them on a computer screen, but especially so when they are on this scale! More posters will appear as the festival gets in full swing.</div><div><br />
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Dovecot What’s On Guide | August-December 2015 </b><div><br /></div><div>One of a series designed by James Brook for Dovecot Studios, Edinburgh.</div><div><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3neR2UMtLRhd9qwwN1XKWP4L4z7e3HC64bDi80GHVy214Zo5UUuC0pX6rpN8DGV8SEY4k1PVq3-29-dh0Ziea2whaFiQUIgOy__Tsh9uWO84qFzBh8htmS_rOWXw1cGRx1EkSoa4uwRn_lwht8YC-nW18MMcousMQj7lfoOmsU1-CBMi5ySyPiMF/s1600/DovecotGuide12.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3neR2UMtLRhd9qwwN1XKWP4L4z7e3HC64bDi80GHVy214Zo5UUuC0pX6rpN8DGV8SEY4k1PVq3-29-dh0Ziea2whaFiQUIgOy__Tsh9uWO84qFzBh8htmS_rOWXw1cGRx1EkSoa4uwRn_lwht8YC-nW18MMcousMQj7lfoOmsU1-CBMi5ySyPiMF/s1600/DovecotGuide12.png" /></a></div>
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Scraps From The Bottom Of My Pocket </b><div><br /><div>Vincent Dachy </div><div><br /></div><div>Published by Artwords Press, London, 2013 </div><div><br /></div><div>Designed by James Brook </div><div><br /></div><div>ISBN 978 1 906441 29 6 </div><div><br /></div><div>Printed on Olin paper by Aldgate Press, London
96 pages with soft cover</div><div>153 x 228 mm | Edition of 500</div><div><br />
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</div><br /></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-3737398847901745013.post-28399917531096104782022-12-31T15:59:00.010-08:002023-01-21T01:01:03.276-08:00Happy New Year<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBLThpssDCkM5JDE3qYSpzaZakcy2df5jN3tqsK1p0nN55gXGz-KQhm15C1niehIJmeWK2WxHE0JZy1bViCoSodrmQyPgR2bgXjabuGctsjTIWTg3EIY1jLqIZM_rwbkgz9uYh7O9V-AShIkYi3hzOsCohJdYfickCOYO5ugii2DMaD0Na68aq_PT/s1600/HappyNewYear.png" style="display: block; padding: 1em 0px; text-align: left;"><img alt="" border="0" data-original-height="2000" data-original-width="2000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGBLThpssDCkM5JDE3qYSpzaZakcy2df5jN3tqsK1p0nN55gXGz-KQhm15C1niehIJmeWK2WxHE0JZy1bViCoSodrmQyPgR2bgXjabuGctsjTIWTg3EIY1jLqIZM_rwbkgz9uYh7O9V-AShIkYi3hzOsCohJdYfickCOYO5ugii2DMaD0Na68aq_PT/s1600/HappyNewYear.png" /></a></div>
Happy New Year, set in ASG, a typeface originally designed for Collective, Edinburgh in 2013, re-worked in 2022.<div><br /></div>Unknownnoreply@blogger.com