Featured Photoshoot: "LOST" by Ole Roesner

LOST by OLE Roesner

Photographer: Ole Roesner

Actor: Gernot Edelmann

Hair & Makeup: Ole Roesner

Styling: Ole Roesner

Photography Assistant: Kristina Laffin

Location: Berlin


Check out Ole Roesner on Twitter and Instagram


Editorial_LOST_by_OLE_Roesner4 copy Editorial_LOST_by_OLE_Roesner2 copy


Spicy Samba Sauce

Project Showcase: Spicy Samba Sauce

Shaun Mulhern, a junior graphic designer who is currently studying graphic design at the University of Bedfordshire, created a project for the Rio Olympics in 2016 called Spicy Samba Sauce.

Spicy Samba Sauce

Spicy Samba Sauce was a 2nd year FMP (final major project) packaged product which is dedicated to supporting & promoting the Rio 2016 Olympic games. As a massive fan of sport it only felt right for Shaun to work on a project for Rio 2016. The project brought together his creative artworking skills (illustration, painting) with some digital design (Photoshop, Illustrator) to create a colourful, spicy product to support the massive samba party in Rio. A social media campaign was also created to promote the product.

The project was inspired by Samba the Brazilian music genre and dance style. It also took inspiration from Jackson Pollock and Brazilian Street Art which were the two artistic areas which inspired the design progress for this project.

The Spicy Samba Sauce bottles each feature an illustrated Brazilian landmark (Sugarloaf Mountain, Christ the Redeemer, Copacabana Beach) and three different spicy Brazilian flavours which are Maracana Marinara, Barra BBQ and Copacabana Chili. Each Flavour also features a area of Rio which is holding the games.

The Product itself was a strong FMP which helped Shaun achieve a 2:1 in his second year at University, designing sport products has always been an aspiration of Shaun's and aspires to be involved in the industry in the near future. If you liked Spicy Samba Sauce be sure to check out Shaun's website http://shaunmulhern.wixsite.com/graphicdesigner

Spicy Samba Sauce Logo

Wrike for Marketers: Simplifying work and freeing creatives from technology overload

Wrike introduces Wrike for Marketers, a new vertical solution developed specially for marketing and creative teams to streamline the creative process. The solution is based on Wrike’s core work management platform, with added capabilities specific to helping marketers define, plan and execute standout campaigns in a real-time, multichannel digital world.

“We spent nearly 12 months working with marketing teams around the world to understand their processes and where progress gets hung up and impedes workflow,” said Andre Hill, Vice President, Strategy and Solutions at Wrike. “The take away was that marketers and creatives want to redesign their relationship with technology so that it aids in the creative process, and doesn’t add new layers of distraction.”

Wrike for Marketers is designed to support all phases of the marketing lifecycle. Jobs are requested with customisable briefs and planned with timelines and resource management. Ideas and content are created with a document editor and the Adobe Creative Cloud Extension that notifies, assigns and brings focus to creative work. From there, the assets are reviewed and approved with Wrike’s built-in proofing and commenting capabilities which ensures everyone has full context of the job goals and feedback. And statuses are visible at a high-level summary view or granular level through Wrike’s powerful reporting engine.

“I believe we’ve built the easiest way for marketers and creatives to manage their work from inspiration to delivery” said Andrew Filev, Founder and CEO of Wrike. “A big pain point for these teams has always been the time and frustration required to transfer information between the various phases of projects. Wrike for Marketers integrates those phases into one continuous stream.”

One of the key challenges faced by creative teams is the proofing, review, and approval process that occurs daily between designers and campaign stakeholders.

“We found a huge amount of lost time for teams around the approval process,” added Hill. “Designers are often put in the difficult position of having to wait for feedback, and aggregate notes and comments into a spreadsheet or other document to track them. On the other end of the spectrum, stakeholders often don’t realise the designer is waiting for their feedback or approval. We saw that by connecting versions, proofing, and approval status, we had an opportunity to save a lot of time for an entire team.”

Wrike for Marketers integrates versions of images and other content into a visual tool for proofing and change requests. From there, a status tool shows designers exactly which stakeholders have approved the piece, and which are still awaiting changes.

Creative Teams Run on Wrike

Wrike customer ONLYCH1LD is a San Francisco based film production company with offices in Denver and Paris. Using the capabilities available in Wrike for Marketers, their team coordinates and collaborates on projects through all stages of the creative process from brief, development, and post-production simultaneously in multiple locations around the world for clients including Levi's, SAP, McDonalds, and Microsoft. (See video of how ONLYCH1LD uses Wrike)

"Every day we're working with local producers, talent, and artists in various international locations, on multiple projects," said Samuel Miller, Creative Director and Founder at ONLYCH1LD. "Finding a solution like Wrike that handles the administration and organisation so that we can focus on the creative work and client relationships is really helpful to us. Wrike allowed us to work smarter and be more creative day in and day out.”

Wrike for Marketers Includes:

Ideate & Plan with confidence

• Complete creative briefs with Request forms
• Set Campaign Timelines & Due Dates
• Manage Team Workload & Availability

Spark the ultimate creativity with Wrike’s Adobe Creative Cloud extension

• Receive and Manage your work via Adobe Creative Cloud extension
• Read, Reply and Add to Comments
• Upload & Version File Attachments

Keep creativity flowing with faster review and approval

• Markup documents and images
• Get clear and actionable feedback
• Works everywhere you work (from your desktop, mobile or tablet)

Deliver your creative vision on-time

• Streamline all your creative assets for campaign launch
• Efficient workflows maximise team satisfaction
• Easily create reports to track performance

Thirty5 Design

We recently spoke to the owner of Thirty5 design, a T-Shirt design company that is heavily influenced by Graffiti and Skateboarding culture.

bonehead t-shirt mockup

"I started drawing from a very young age, I always had some sort of drawing tool to hand. I would draw on any scrap of paper i could get my hands on. As the years went on I developed my style. Graffiti and skateboarding were massive influences on my style and still are today. Although I no longer do any illegal graffiti I do take on the odd commission now and then. I like to design t-shirts as i feel this is a great way to get my work out to a wider audience and I love t-shirts.

anchor tee

Recently my style has leaned toward old school sailor tattoos mixed up with graffiti. I love to hand draw all my work first and then take them to the mac, I feel this gives them my unique twist as my style is individual,. Just using the mac to design takes away the soul of the design as its not been physically drawn by human, but thats just me. I don’t really have much more to say, I’m not a big talker  i prefer to let my illustrations do the talking. I hope you enjoy them and check out my links.

bonehead bottle spraycan anchor 
These will be available to buy soon through my depop shop or directly through me."

Depop       @thirty5design


In Pursuit of Online Excellence: The Good Web Guide Website of the Year Awards 2016

"The hunt for stunning sites has begun", The Good Web Guide Awards attracts entries from both grass roots startups and established players.

Last year entries were received from the likes of Foxtons, Belstaff, Black Tomato, Wicked Uncle and Posh Totty, with The GWG Website of the Year going to TrustedHousesitters, the world's largest house/pet sitting network.

This year’s programme has several new categories for entrants, including Sports, for individual sports/clubs, sporting news and blogs and Corporate, for sites promoting organisations/businesses' services or products.

The winning site will win a number of prizes worth over £7,000 to help perfect their online presence. The distinguished panel of judges includes serial entrepreneur and internet investor, William Reeve, whose past successes include Lovefilm and Forrester Research, Stefano Maruzzi, Vice President EMEA of GoDaddy, the world's largest technology provider dedicated to small businesses, Kitty Parry, founder and CEO of the Social Media Compliance, Aneeqa Khan, founder of eporta, one of the largest interiors inventories globally and others.

For further information regarding The Good Web Guide Website of the Year Awards 2016, please contact Arabella Dymoke
Tel: 020 7402 6412, Email: a.dymoke@thegoodwebguide.com

Fontsmith launch new digital typeface too flexible to name: FS Untitled

Boutique type foundry, Fontsmith, announced a new addition to their library of typefaces called FS Untitled. The latest addition from the Clerkenwell-based foundry, developed with screens firmly in mind, makes possible the kind of very fine adjustments to weight that can be crucial in keeping characters sharp on-screen, and reduce the reliance on fonthinting. It also makes possible a whole lot of fun, in a ‘digital playground’ that lets the typeface’s many variants off the leash.

FS Untitled’s roots lie in Fontsmith’s creation of the iconic typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes and blocky baseline serifs, and a toned-down version for use in text, captions and content graphics. Eleven years on, the text font is still going strong in C4’s online presence, but the broadcaster’s ten-year exclusivity license on the font has passed, leaving Fontsmith free to develop it for a much wider audience.


The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly (inspired by the classic cartoon TV shape of a squidgy rectangle). The studio has developed a wide array of weights – 12 in all – with the intention of meeting every on-screen need, from a thin weight to a bold.

The studio went a stage further. Fontsmith founder, Jason Smith, who oversaw the development of the new face, wanted to offer designers and web developers much greater flexibility in the display of text, and lessen the dependency on font hinting, which corrects the ‘jumping’ of pixels in text characters. Hinting is a valuable tool, particularly on low-resolution displays, for producing clear, legible text. But it can’t do the whole job all the time. ‘However valid hinting is,’ says Jason, ‘it’s irrelevant if the design isn’t fit for purpose or the weights aren’t effective on certain background colours or images, or at certain sizes.’

The studio has created two versions of each weight to allow designers and developers to go up or down a touch in font weight if text isn’t rendering well on a certain colour. Two weights for each weight, in other words, which makes for incredible flexibility and versatility, and preserves the integrity of the original design. ‘It’s a digital-first world,’ says Jason. ‘And I wanted to make something that was really functional for brands. I also wanted to create something that stylistically was open to its use. So a thin weight, large, gives a very different feel to the text font in body copy.’

To bring the new typeface even further into the digital world, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold). It’s a system that echoes the one used by Adrian Frutiger to identify his Univers font family, but which Fontsmith intend to reflect the numbering that web developers use to refer to font weights in CSS code.

Go to the ingeniously distracting playground built to launch the typeface, though, and each weight is given four different activity zones and an interactive specimen sheet in what its designers, The Space Between, call a ‘digital playground’. In each zone the word Untitled is replaced with a description of the scene like ‘FS Zombie’, ‘FS Alchemist’ etc. ‘We needed to show the timeless beauty and endless flexibility of the typeface,’ says Matt Rudd of The Space Between, ‘With such a range of weights, personalities and possible applications, from apps to websites to digital billboards, the family was never going to sit comfortably under a single specific name. ‘FS Untitled’ was the only solution. This fits perfectly with Fontsmith’s Brandfont® concept, which allows companies to customise and rename fonts under a corporate license.

‘We worked hard to create many different kinds of typographic execution. All scenes are interactive - for example, FS Zombie is a fully-functioning arcade game and FS Alchemist takes the user from LEAD to GOLD via every letter in the alphabet.’

Co-founder Steve Jones adds, ‘The idea of designing and building 48 unique interactive scenes seemed like sheer madness. But it has been a really exciting project and we think all the hard work has paid off.’
Visitors can interact with the site, create their own graphic moods, get inspired and inspire others by sharing their favourite parts. Fonts have never been this much fun…

Have a play.


Travel Photographer of the Year Exhibition Opens in Greenwich

World-class travel images come to London for the summer, when the Travel Photographer of the Year (TPOTY) exhibition opened  Friday, July 22, at 10 Stockwell Street, the award-winning building at the University of Greenwich, within the Maritime Greenwich UNESCO World Heritage Site.

Open seven days a week, this magnificent, free-to-view exhibition runs from July 22nd to September 4th. At its previous London ‘home’ the TPOTY summer exhibition received over 50,000 visitors in 2015 alone, and the move to Greenwich adds a major new attraction to an already hugely popular area of the city.

The photographs on display are the latest winning shots from the international Travel Photographer of the Year awards (TPOTY), one of the world’s leading photography competitions. Photographers from 114 countries entered TPOTY, and the winning images give a beautiful, fascinating, entertaining and, at times, moving, depiction of life, cultures, wildlife and landscape all over the planet.

From atmospheric pictures of Louisiana wetlands, quirky portraits of pelicans off the coast of Namibia, delicate, close-up semi-abstracts of dew-covered spiders’ webs and a charming shot of a rather quizzical meerkat to insightful images of the Basotho people in Lesotho, the Kazakh wedding season in Mongolia and street life in China, the exhibited photographs cover a wide range of styles and subjects, all captured by immensely talented photographers, young and old, from around the world. The exhibition will provide the ideal source of inspiration for potential entrants for the 2016 TPOTY awards, which are open for entry at tpoty.com.

Housing the University’s departments of Architecture, Landscape and Arts, the Stockwell Street building won the RIBA National and RIBA London Awards in 2015. The exhibition space is flooded with natural light so will display the photographs to their best advantage, in a calm, relaxed atmosphere that’s ideal for visitors of all ages.

The combination of the Travel Photographer of the Year exhibition and the world-famous attractions all just a short walk away - including the iconic sailing ship Cutty Sark, the historic town centre, the Royal Park, the superb National Maritime Museum, Queen’s House Art Gallery and the famous Greenwich Market – means that exhibition visitors will be able to enjoy a fantastic day out.

Visitors can take home the winning images in the form of the latest TPOTY book, Journey Eight, which will go on sale at the exhibition. They will also be able to buy postcards and greetings cards featuring a selection of the winning images. And they can even vote for their own favourite image, with the chance to win a trip to photograph the Northern Lights with Hurtigruten, a Halcon Traveller jacket from Páramo or leather goods from StaaG.

This stunning exhibition is free to visit, and open daily from Friday 22nd July to Sunday 4th September.

The customer is always right, but what about the client?

We've all heard the phrase "the customer is always right", and in most cases it's very true. Short of the customer jumping up on the shop counter and screaming in your face, you've pretty much got to fulfil their every desire - regardless of how unreasonable that desire may be.

In design, it's a bit different.

Now, don't get me wrong, we always have to respect the client's opinion. But, unlike retail and similar customer-facing professions, we don't always have to agree.

Imagine you worked in a clothes shop. A customer is trying on an outfit, and they think they look absolutely fantastic. The customer then gleefully asks for your opinion and, while the voice in your head is saying "take it off and burn it immediately", you would always agree with them and tell them they look great.

Now imagine you're sat in the design studio with a client, and they're looking over the designs for the business cards you just spent the day designing. In this particular composition you've followed the brand guidelines and positioned their company logo in the top right of the card -modestly sized, leaving just the right amount of empty space.

Immediately, the client's reaction is to have you 'blow up' the logo to fill all of that 'blank space'. That voice in your head returns, exclaiming unfiltered rage at the client's lack of understanding of design and their own brand guidelines. Unlike the customer in the shop, you don't necessarily have to agree with this opinion.

This would be one of those moments where you need to employ the art of selling your idea with tact. As a designer it's not just your job to create good design, your job is also to champion your own idea - and this sometimes means politely challenging your client's opinion and trying to sway them to your point of view.


Does the font I use really matter?

The New York Times ran an experiment which concluded that typography can influence our perception of the truth. For instance, if we read a fact that was written out in the dreaded Comic Sans, we'd perhaps view that fact differently than if it were written in a more aesthetically pleasing font like Helvetica.

For the uninitiated among you, a font is an assortment of type that shares a style and size and a typeface is the style or design of the font (i.e. bold, italic etc). Serif fonts such as Times New Roman and Garamond have small lines at the ends of character strokes. They're commonly used in books and newspapers, due to their high readability on paper.

Sans serif fonts are a category of typefaces that do not use serifs. Various studies have come to the conclusion that sans serif fonts are more difficult to read on paper. That's why in print they are seen more often as headlines and captions.

Looking past the physical properties of these typefaces, there is also the cultural significance. What does the font you choose say about you or your business, and what impact might it have? Serif fonts are associated with academia and authority, which may be important to you if you're looking to instil feelings of trust in your reader. Or, if you want to align yourself or your brand with youth and modernity, a sans serif font would be the way to go.

In the New York Times experiment, readers were shown a statement written in one of five fonts: Georgia, Helvetica, Trebuchet, Comic Sans and Baskerville. Interestingly, more people believed the statement when it was written in Baskerville – a serif font – than the other four typefaces.

So, does the font you use really matter? If the New York Times is to be believed, then the answer is yes.

Your font choice could really affect people's perception of you and your services - it may hold the power to make people choose your service over the competition, upgrade to a higher ticket product or even pay the premium rates you've always wanted to charge...

Has QuarkXpress 2016 changed the game?

Once upon a time QuarkXpress was the go-to software for print layouts. In the early 2000's however, partly due to Quark's repeated failings to make OS X-native versions of XPress, the software fell by the wayside in favour of Adobe InDesign - the exciting new kid on the block.

Jump to 2016 and a newly revitalised Quark have confidently released the latest instalment of Xpress with a range of groundbreaking new features.

The interface itself for the most part is identical to the previous version of Quark, albeit with a few minor tweaks. The big changes aren't right there on the surface, but Quark 2016 boasts the ability to convert imported PDF, EPS, and Adobe Illustrator files to native editable QuarkXPress objects. Even allowing conversion of objects and entire pages from Adobe InDesign, Adobe Illustrator, Microsoft Office (including Word, Excel, and PowerPoint) and other apps.

Time you would have spent extrapolating data from an excel document and formatting into a table within quark can now be reduced by a simple copy and paste. The same goes for Illustrator shapes which seamlessly become native quark shapes, retaining all of their original anchor points for use with Quark's own pen tool.

It takes literally seconds for Quark to convert all of the objects in a PDF, and more importantly it keeps related text together in one text box. When you compare this to converting the file in Adobe Illustrator, which often breaks the text into single-word text boxes (often requiring the designer to recreate the artwork from scratch), it's an incredibly useful tool which could save hours of work!

These additions alone really throw QuarkXpress back into the ring in a big way, check out the full range of new features for yourself here.