ORGANISE WITH OTHERS
Following on from 2017’s Unite Against Dividers, Organise With Others looked at the ways in which the arts have (or have not) been responding to the EU referendum. We overprinted the content on top of the previous years, providing a visual representation of who is still active and what has changed.
graphic identity, publication design
In collaboration with Keep it Complex
Us? was a day long exhibition in the Design Museum to showcase the work made over the year by members of the Young Creatives programme. We worked with the curator Hefin Jones and the young people to curate their work and develop a publication to accompany the exhibition. One of the ways this manifested was when we asked the participants to comment on the curators description of the workshops. We overprinted their comments on the original text, preserving the conversation that had taken place.
publication design, exhibition design
A GENTLE VISUAL FIRE
A Gentle Visual Fire is the result of research undertaken by Amy Feneck during a residency in the Marx Memorial Library. The book uses photographs form the Spanish Civil War collection, rephotographed and brought together with a newly written narrative text by Amy. The artificial light in the museum represents one of the voices in the text, reflected through the yellow tinting of the pages. The book is Typeset in Ibarra Real, based on the types of the Spanish printer Joaquin Ibarra.
WEALDSTONE YOUTH WORKSHOP
Wealdstone Youth Workshop is a new public design project for Wealdstone, northwest London. We’re collaborating with young people across the area to design and make a range of public furniture for the forthcoming Wealdstone Square.
The workshop is made up of a group of eight 15 –19 year olds from across the borough. We’ll work with these young people through a series of workshops this summer, to co-design, prototype and test different pieces of furniture for the square. They’ll be paid a small stipend for taking part, and receive a share of any intellectual property created. Our ambition is to create a final piece of sell-able furniture, to be used across the area.
graphic identity, posters, flyers, website
THE FESTIVAL OF RADICAL FUN
‘Do! Act! Share! Get together! Spend no money now! And, by doing so, you just might find yourself creating a London that’s radical and fun.’ This was the sentiment behind The Festival of Radical Fun, held at the museum of London on 7 October 2017. The museum was full of artists, designers, performers and writers considering how to change the city for the better.
We designed the identity and a publication for the day. In order to create as little waste as possible the programme is printed on reclaimed A4 paper, gathered (with a bike) from recycled bins of libraries, schools and offices across London. This had the added benefit of making each copy of the publication unique.
Our headline typeface was inspired by Franciszka and Stefan Themerson’s book cover of Exercises in Style.
publication design, graphic identity
In collaboration with Tom James
RUMORS AND MURMURS
Rumors and Murmurs is a publication for the artist Martin Beck. It accompanies an exhibition of the same name at the Mumok in Vienna. The publication takes the form of a box containing essays, exhibition plans, Martin’s working files and representations of artworks.
publication design, exhibition graphics
MÖCHTEST DU MAL MEINE BRIEFMARKENSAMMLUNG SEHEN?
“Would you like to see my stamp collection?” An artwork by Rosalie Schweiker and San Keller for the Museum fur Kommunikation in Bern, Switzerland. We designed these stamps as a documentation of the process.
Station Road is a busy thoroughfare in Harrow. At it’s heart are two parades of shops served by slip roads dominated by parked cars. Harrow council asked our team, lead by the architect Mark Smith, to look at how these spaces work for the community and improve them as public spaces. It soon became clear that the first step was to pedestrianise the parades. The standard way to do this would have been to use paving slabs throughout, however, as the project budget was very limited this would have left little money for trees, furniture and anything else that could have contributed to the space. So we took a more cost effective approach. We blocked off the parades and levelled them out with asphalt to improve accessibility.
Another issue that arose was that the addresses of businesses were getting confused as many addresses related to the name of the parade that they were on but there was no signage to identify these parades. So using the language and techniques of road markings we designed these parade signs on the asphalt. We couldn’t have pulled this off without the experience and skill of Roy and Dave who painted the road markings on site.
Unite Against Dividers
Unite Against Dividers was a weekend full of activities, debates and questions about what the arts should do after the EU referendum. We designed the graphic identity and printed implementations such as flyers, handbook, poster/placemats.
In collaboration with Keep it Complex
THIS IS A VOICE
Exhibition graphics and gallery guide for This Is A Voice at the Wellcome Collection. The exhibition focuses on the non-linguistic and experimental qualities of the voice represented through a variety of objects and artworks. The title graphics were treated in a playful way – visually interpreting the theme of each section. Working closely with the 3D designers, a pallet of tactile materials were developed to marry the graphic and built elements. All text in the exhibition is printed on silicone – giving a fleshy layer on top of the exhibitions 3D skeleton. The gallery guide acts as an extended reader for the exhibition, offering more in-depth information on each of the works.
exhibition graphic design, publication design
We were commissioned by Radar, Loughborough to think about identity and place. Our research for this project became a text and a series of visual responses to the town. We worked on these with the artist and illustrator Peter Nencini. These responses exist as a set of billboards located in Loughborough and a series of images hosted on the website. Please visit the website to read the text.
artist commission, graphic identity, research
PICK ME UP
Graphic identity for Pick Me Up 2015 at Somerset House. Following the punchy three word title of the graphic arts festival a series of three word statements were written for information panels and way finding. Alongside this we asked the speakers of the critical programme to write three word statements which were then subject to the graphic treatment of the identity.
The graphic mark-making of the typography emulates hand-made placards and was fly-posted throughout on large format screen printed posters. Plywood lettering guides were cut on site with the help of Makerversity, who are located in the basement of Somerset house. These were then used to mark out the large format title graphics which were finished up by sign writers.
graphic identity, exhibition design
BLACKHORSE LANE INDUSTRIAL AREA
New wayfinding for the five industrial estates along Blackhorse Lane in Walthamstow. Reusing existing posts to save cost the modular design allows flexibility and retains the possibility for additional smaller signs to be added at a later date. In addition to the signage we designed a new clock at the heart of the industrial estate.
In collaboration with architects We Made That
New signage, notice board and access ramp for Saint Anselm’s Catholic Church in Southall. Part of a wider project where we were working with Ealing Council to make interventions in the public realm in Southall. The cream terrazzo replicates the terrazzo altar inside the 1968 church.
Launching in April 2014, Building Rights is a user-generated resource for knowledge and information about planning issues in England and Wales. It seeks to amplify and extend existing sources of knowledge available from the government and local authorities, and to increase popular engagement with the practice of planning. It seeks to increase every citizen’s knowledge of their building rights, and their ability to use them, whether they are seeking to build, to prevent building, or otherwise to play an active role in their towns and places. Building Rights is part of ‘Making Planning Popular’, a PhD by David Knight.
graphic identity, website
These billboards document and celebrate the industry and manufacturing in the Blackhorse Lane area in Walthamstow, London. These include a prop maker, specialist stone supplier, bespoke joinery manufacturer, wooden bed maker, comic book seller, metal fabricator and a fabric distributer.
Housed in Frederick Gibberd's Fullwell Cross Library the Front Room has been designed to showcase Barkingside's past and its future as part of the ongoing 'Better Barkingside' project. It contains a growing exhibition about Barkingside, and will also host a series of events throughout the project, including lectures, celebrations, meetings and workshops.
The maps on the walls are a growing archive of Barkingside's history, and an up-to-date record of the changes to Barkingside's public realm and frontages.
Our bespoke typeface is based on Eurostile, the typeface used for the original signage in the library and leisure centre.
graphic identity, exhibition
In collaboration with architects DK-CM
FRIEZE ART FAIR FAMILY GUIDE
‘Just like you, Freeze Monster has been exploring Frieze Art Fair. But he has a terrible problem – he saw so much he can't actually remember what he has seen! As the fair is only once a year, this is a big problem. But, you can help!’
The Family Guide is an annual activity booklet for Frieze Art Fair. Children are given a series of questions and activities to help them engage with the art at the fair. The guide is made in collaboration with the illustrator Holly Wales with texts written by Hannah Murgatroyd and Hannah Coulson.
This book was designed on the occasion of Alice Channer's exhibition Out of Body at South London Gallery, using five different cuts of the typeface Univers. This book includes photographs from the exhibition, a selection of Alice's past work, an essay by Barry Schwabsky and an interview conducted by Sam Thorne.
Published by South London Gallery
THE ASPEN COMPLEX
The Aspen Complex draws on the events of the 1970 International Design Conference in Aspen, with documentary photographs of Martin Beck's exhibition Panel 2 – Nothing better than a touch of ecology and catastrophe to unite the social classes…, essays by Sabeth Buchmann, Felicity D. Scott, and Alice Twemlow and video stills from the Aspen Movie Map.
The physical form of The Aspen Complex references another book – The Aspen Papers – in both size and material. The Aspen Papers, published in 1974, is a book edited by Rayner Banham and designed by Ivan Chermayeff. It contains official material collected from the Aspen conferences. The headlines in The Aspen Complex are set in Compacta, a typeface used in two relevant counterculture publications from 1970 – Radical Software and Domebook.
MAKERS & BROTHERS
Makers and Brothers is an Irish shop for design and craft objects run by brothers Jonathan and Mark Legge.
Our graphic identity for the brothers Legge includes a series of pictograms drawn from Irish landscape and tradition. These include landscapes inspired by Paul Henry paintings, objects and animals such as a stool, a sheep and a tree, and enlarged details of materials like wood and wool. The drawings are printed on stickers and tape used for the packaging of the products. We add new pictograms for special events and the changing seasons.
graphic identity, stationary, packaging
The Wild Kingdom is a playspace in Three Mills Green, Newham. It includes a variety of play structures that bring a sense of unexpected adventure, a place where nature and play come together.
Our graphic identity for the space is designed so that the community can easily implement it across a variety of platforms in print, online and on-site. As well as contributing a rugged playfulness to the project, the identity supports a number of free on-site workshops run before, during and after the landscape's construction.
Playspace designed by architects We Made That
Commissioned by The Legacy List and London Legacy Development Corporation
Groundplan is a housebuilder directed by Crispin Kelly. Central to their work is the infrastructure of shared spaces within a community and how the design of private spaces influences the public spaces in between them.
We named the company and designed their graphic identity. Our research looked at icons of British suburban living from wheelie bins to picnic benches. The identity is composed of a set of pictograms depicting items that you would be likely to find in the shared spaces of the community.
graphic identity, stationary, website
Future Works is an exhibition catalogue for the Printmaking MA at the Royal College of Art. The book is printed in 8 separate 8-page signatures which are bound together, allowing one spread for each student. Each section is printed in a different complimentary colour pair which gradually changes through the book, resulting in an economical and vibrantly colourful book; a total of 16 spot pantone colours including fluorescents and metallics are used.
The students screenprinted the gatefold covers using their facilities at the RCA. Each cover features a marbling or blending of leftover inks from student projects. As a result traces of the artworks exhibited in the show are in the covers and each book is unique.
Located in London’s Olympic Park, Fantastic Factology was a project in which facts were submitted by members of the public via the website and on postcards through various workshops. The facts were collected, edited and finally produced as a series of bench plaques which were inset in park benches dispersed throughout the site, creating a trail of informative morsels covering everything from the sleeping habits of the snail to the structure of the Mongolian language.
graphic identity, typeface, bench plaques, website
Tumult was an exhibition showing Swedish 70s political craft. The exhibition design drew heavily on familiar vernacular exhibitions of the period, while much of the work on show had a certain urgency to it but with a high level of detail and consideration. In this spirit we imagined what a set of letterforms would look like if designed by an 'activist librarian', which became a bespoke typeface for the exhibition.
exhibition graphics, publication, headline typeface
In Autumn 2010 David Batchelor installed a fountain of light above Archway tube station. The fountain remained there throughout the dark winter months until the clocks went forward again in the spring.
We worked with David Batchelor and Anna Hart to create a booklet of fountain paintings. From the fountains of Peterhof Palace to the Fountain of Youth depicted by Lucas Cranach the Elder, the fountains represented a selection from art and architectural history. David turned these fountain images into a series of dot paintings for the publication. The booklets were posted through the letterboxes of the 4000 closest residents the the station announcing the switching on of the artwork.
Published by AIR
Photography by The London Sock Exchange
In 2010 and 2011 we ran and designed the bar at Sunday Art Fair with Ryan Gander. The event was punctuated by a series of artist cocktail hours where artists would design and mix cocktails for customers.
The cocktails included 'Punch' by Fiona Banner – a cocktail where the customer would attempt to down a magnum of champagne. However, there was a catch – the champagne could only be drunk from a champagne coupe whilst wearing boxing gloves and needed to be drunk in an allotted time signified by the ringing of the bell. The following year we held an art pub quiz with Bedwyr Willams as the quizmaster, putting the art knowledge of the crowd to the test.
beermats, flyers, signage, menu
TEMPORARY MUSEUM OF STRATFORD
Housed in a disused lobby within the diverse Stratford Shopping Centre (not Westfield) – a place where a 24-hour public thoroughfare and market street drives through the privately owned stores of commerce – The (Temporary) Museum of Stratford seeks to uncover the many layers of history underlying the area's current developments, providing a reflection upon Stratford's future through an excavation of its past.
Our brief was to design an exhibition which could be enjoyed by passers-by when peering through the windows of this forgotten corner of the shopping centre. We created the exhibition out of coloured cardboard and printed the catalogue on newsprint – temporary materials for a fleeting museum.
Early on in the project, when sifting through the archive material, we coincidentally found a photograph from 1971 of a previous exhibition offering ‘glimpses into the past and future of Stratford’. This image provided inspiration and direction for many of our design decisions as well as a suitable image for the front page of the newspaper.
exhibition design, newspaper
Part of the London Festival of Architecture, 2010
How far does planning control what we build? And what can we build without planning? Sub-Plan investigates the moment when architecture appears to slip into insignificance – when it doesn’t even need a planning application. Are the implications of minor development more significant than planners imagine?
book design workshop
The Parallel Cards at first appear like a traditional pack of cards. On closer inspection however it can be seen that the playing cards have no reverse side but two picture sides – with a different card always appearing on the reverse.
We developed the game Parallel Black Jacks to be played with the cards. Card tournaments for the game have been held at Somerset House, Lisson Gallery and Berkeley Art Museum, USA.
In many traditional designs, including the designs that we were using, the front face of playing cards are printed with the spot colours blue, red, yellow and black. As these colours are not so far off of the standard printing colours – cyan, magenta, yellow and black – we printed not only the cards but the accompanying leaflet which included a photograph of twins playing with the cards.
For the second edition of the cards we inverted all of the colours on the cards.
playing cards, card tournament
Concept Store is a journal published bi-annually by Arnolfini in Bristol. Each issue takes its theme from the current curatorial programme at the arts centre. We designed issue #2 which was about the future, spanning subjects from fashion to terrorism and from Korean housing projects to the destiny of the art world.
Material Presence was a group exhibition at 176 Gallery including work by Laura Buckley, Myriam Holmes, Graham Hudson, James Ireland, Alexej Meschtschanow, Katja Strunz and Mark Titchner.
The headline lettering that we used throughout the graphic identity was our redrawing of the Architectural Alphabet – designed by Johann Steingruber in 1773. Steingruber's letters are architectural plans for palaces, none of which were ever built. Steingruber’s alphabet, like most alphabets, existed only in printed form. To give the Alphabet a new lease of life we created a CAD rendered fly-through of the building-letters. The video loop was installed in the gallery foyer introducing visitors to the exhibition.
Housed in a former Methodist chapel, we covered sections of the gallery facade with banners depicting 1:1 scale sections of the Architectural Alphabet.
The publication to accompany the exhibition came in a box which contained the catalogue and an edition from each of the exhibiting artists.
exhibition graphics, publication
WOULDN'T IT BE NICE...
Wouldn't it be nice… wishful thinking in art and design was a group exhibition curated by Katya García-Antón and Emily King. The artists and designers were chosen for having a modest sense of Utopianism in their work. They included Superflex, Bless, Alicia Framis, Jurgen Bey, Ryan Gander, Dexter Sinister, Dunne & Raby with Michael Anastassiades, Tobias Rehberger, Martí Guixé and Martino Gamper.
The interior of this exhibition at Somerset House was designed and built utilising bespoke polystyrene structures, which were engineered using computer operated hot wires and drill bits. We were interested in using the drill bit as a drawing tool to integrate captions and wayfinding information onto the surfaces of the exhibition space.
We drew a typeface inspired by both old engraving typefaces by Edward Johnson and Eric Gill and the monoline engraving typefaces sometimes found on generic acrylic office signage. This meant that our monoline typeface could be used on print as well as being engraved into the polystyrene, maintaining a consistent look throughout the show.
exhibition graphics, publication
Finn Williams' exhibition at New London Architecture in 2007 included, in his words, a ‘mockumentary set 40 years after the completion of an alternative masterplan for Barking Riverside. It records residents' memories and impressions of a town built on the myth of a fictional, improved version of suburbia, a large white lie which may be fake, but ought to be true’.
We created a leaflet for this exhibition that implies it is part of a bigger history or context by appearing to be a loose section from a larger book. The page numbers begin at 97 and the publication starts and finishes mid sentence, as if cut off from the longer running text of the book. A Doric, an Ionic and a Corinthian column hang on the exhibition spaces pre-existing display boards, whilst the remaining exhibition graphics extend into wall vinyl and captions.
exhibition graphics, publication
LOOSE ASSOCIATIONS AND OTHER LECTURES
Loose Associations are a series of lectures by the artist Ryan Gander. The lectures are informally structured, linking together a string of anecdotes and references into a series of happy encounters. We were asked to convert these lectures into printed form alongside three of Ryan's other lectures. We translated the narrative links into the layout by placing the images in the run of the text where they would appear as slides in the lecture.
Published by Onestar Press
The Allotment was a temporary restaurant at 8 Egerton Garden Mews in South Kensington. The restaurant opened for four months in the spring of 2007 and was run by Platform 2, Design Products at the Royal College of Art. The restaurant's menu and interior design evolved in three stages – this promotional poster was overprinted and updated three times to mirror this change.