design, context, publication

DESIGN CONTEXT

PAUL BRANDRETH 2012

CONTENTS

Design Context

DESIGNCONTEXT

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_CURRENT AFFAIRS / FINANCIAL SECTOR / SPORT

“The focus of my practice is around rtypography and layout for editioral uses, and a focus on printed interactive fomrats”

Paul Brandreth

Current Affairs Design Context

CURRENT AFFAIRS / FINANCIAL SECTOR / SPORT

“The focus of my practice is around rtypography and layout for editioral uses, and a focus on printed interactive fomrats”

Paul Brandreth


CURRENT AFFAIRS

Current affairs is a subject which drives


“Leterme Dowling is a multi-disciplinary design studio witha global client base. We pride ourselves on our individual approach to design across a variety of applications;- logos- websites - promotional literature - identity systems- brochures- packaging - signage

We work on projects of all scales, place an emphasison giving each project our collective commitment andon working closely and openly with clients from the outset.We believe this can make the difference in creating appropriate and distinctive graphic design that not only communicates but also engages its audience.”

Eight:48

LETERME DOWLING


The monthly newsmagazine of ‘Il Sole 24 ORE’. IL is dedicated to contemporary trends and consumer interests, and uses current events as the key to understand changes in lifestyle. Its target is a contemporary, international audience who looks for ironic, unconventional and reflective contents. The idea is to give to readers “soft” news as if they were “hard” news: in a serious, journalistic style that wants to be both informative and elegant.

“DESIGN IS CONTENT AND A DESIGNER WORKS AS A FACILITATOR TO MAKE COMMUNICATION EASIER, COLLABORATING WITH EDITORS TO GET THE BEST USABLE PRODUCT”

FRANCESCO FRANCHIART DIRECTOR - INTELLIGENCE IN LIFESTYLE

In contemporary society the word technology is undergoing a change and we are currently embracing multiple languages. The biggest challenge of the moment is to combine all these languages to increase understanding. Editorial design has at its heart the function of communicating a journalistic idea or story through the purposeful use of visuals and words which, over time, transform information into comprehension. Graphic design does not refer just to an aesthetic solution but has to aspire to become an ethic aspect for a journalistic product. Therefore, design is content and a designer works as a facilitator to make communication easier, collaborating with editors to get the best usable product. Design does not necessarily mean something beautiful. Beauty is evoked like harmony coming from the particular function and usefulness of the object. So the composition criteria have to be founded in the intrinsic logic of the objects, in their function and in their contribution to everyday life.


“Collector is a special issue of COLORS Magazine dedicated to people who regroup and catalogue objects linked to a theme. For the 20th anniversary of COLORS, Collector, celebrates the diversity of cultures, by bringing a contemporary vision of collecting through a selection of products from different media, such as graphic design, industrial design, sound and even nature.

Inspired by the way collectors preserve their items and in order to emphasize on the fact that this issue is a real ‘Special Edition’ the magazine came in bubble wrap envelopes with metallic stickers.”

My work would not have been what it is today if I didn’t travel and had my overseas experiences, inspirations and influences. Studying in Australia made me really focus on only design. As you are away from home you kind of start all over again, and most of my friends down there were also designers that I met in school or in studios. Nerdy but true. I think stepping out of your comfort zone is good for any person’s development!

“I think stepping out of your comfort zone is good for any person’s development!”

MAGDALENA CZARNECKI

ART DIRECTOR - COLORS COLLECTOR


Françoise Mouly joined The New Yorker as art editor in April 1993. She has been the publisher and Editorial Director of TOON Books since its launch in 2008.

FRANCOISE MOULYART DIRECTOR - THE NEW YORKER

What is the decision-making process like for choosing covers that we may not see from the outside?

A lot of the time we are looking for a good idea. When you see the cover, you can be seduced by how beautifully expressed that idea is. From my vantage point, I try to be blind to the aesthetic visual quality. I work with artists—the top, the most interesting artists, cartoonists who story tell. I try to not be seduced by “that is a beautiful drawing.” The goal is to give a portrait of our times in visual snapshots.

Is it true that inside the cover editor’s office, you notice that the walls are covered with rejected New Yorker covers?

Like everything, it has a core of truth. My walls are covered with the sketches that the artists send me. Some will never see the light of day, just make me laugh, and others will be the building block of the right cover at the right time as things shift and move. We have an infrastructure of evergreen covers, a few images that deal with spring, weddings, that deal with the calendar. We are ready at the drop of the hat for political or newsy and it’s an unpredictable pattern. Some are not so much rejected as, “We haven’t found the right thing yet.”

You are the cover editor and the art director of the New Yorker?

You’ll never get it right because the New Yorker just doesn’t do things the way everybody else does. I’m the art editor meaning I am in charge of the artists who provide content. It’s the cover, and it can also be comic strips or single pictures inside. The New Yorker, at the core, especially when it was created in 1925, was a humor magazine, bringing together artists and writers. We don’t call our artists illustrators—they are artists and I am the art editor.

How much power does David Remnick have over the pulled covers? Is it 50-50?

It’s his call. Something does not run if he does not want it to run. He has final say. I present things to him. I’m always trying to make him laugh within the parameter of what he’s interested in. He’s very much into politics. I’m always talking to artists about following the political process. He has 100 percent of the decision power.

How much do you pay artists to do a cover for the New Yorker?

It’s the same fee for everyone, no matter who they are. The “powers that be” prefer I don’t say, but it’s the best-paid job as editorial in that field. It doesn’t pay as good as doing advertising, but advertising pays ten times more than editorial anyway.


Type Daily newspaperFormat BerlinerOwner Guardian Media GroupPublisher Guardian News and MediaEditor Alan RusbridgerOpinion editor Mark HenryPolitical alignment Centrist liberalismLanguage EnglishCirculation 215,988 (February 2012)Sister newspapers The Observer The Guardian Weekly

COMPARISONTHE GUARDIAN

Type Daily newspaperFormat BroadsheetOwner Telegraph Media GroupEditor Tony GallagherFounded 1855Political alignment Right-wing British conservativeCirculation 634,113 (July 2011)

Type Daily newspaperFormat TabloidOwner Daily Mail and General TrustPublisher Associated Newspapers LtdEditor Paul DacreFounded 4 May 1896Political alignment ConservativeLanguage EnglishCirculation 1,945,496

THE TELEGRAPH THE DAILY MAIL


FINANCIAL SECTOR


From a pop-up tavern in the Graphic Design Museum in Breda to a special edition conceptual tome: Browns’ for-ward-thinking approach and handling of work is like no other independent design studio.

Since its founding in 1998 Browns has created work with weight and cultural significance. Purposefully side-stepping the tidal trends of stylised design, the studio ten-ders a fresh aesthetic, applying an artist’s sensibility to a two- and three-dimensional design context. The studio abstracts stimulation from all strands of culture and our com-monplace surroundings, to produce sensitive work with a purity of form that has a shared relationship to the world around it.

The spirit of Browns is encompassed by its founder, Jonathan Ellery, a conceptual artist who creates thought-provoking, narrative-based works through an assortment of mate-rials. The studio also has its own publishing house, Browns Editions, which, since its founding in 2005, has designed and published collect-able printed matter, sustaining the tradition of print and book art in a 21st century arena. It is this syn-thesis of studio, publishing house and conceptual artist, together with an overview from creative direc-tor Claire Warner, that strengthens all in-house creativity, crafting a contemporary design studio that func-tions like no other. Browns, Browns Editions and Jonathan Ellery reside down a cobbled path in south-east London.

They work with many esteemed clients from around the world and have re-ceived numerous notable awards, most recently Creative Review magazine’s ‘Design Studio of the Year 2011’.

Browns has, for the fifth time, designed the Hiscox Report and Accounts. Sensitive to financially challenging times, the report is bold and concise, confident in its delivery, telling it like it is in a no-nonsense, transparent manner.

BROWNS


In today’s environment, trust and confidence must be earned, with stakeholders demanding more and better information to gauge which companies pass muster. They want reporting to be more transparent, insightful and frank, with a more forward-looking perspective. They want a deeper understanding of how companies make their money and how sustainable that process is.

And with regulators also pushing for greater disclosure, the challenge is to balance compliance and communication.

We help clients by unravelling the complexities of audience needs and regulatory requirements. We invest in understanding - and shaping - the reporting landscape, notably in our comprehensive “How does it stack up?” research, a benchmark of good practice in reporting since 2006.

Our expertise in reporting ensures that our creative work is informed by understanding and insight. Our design is not simply aesthetic; it’s there to present a coherent story, simplify the complex, aid understanding and make the information accessible - in both print and online.

This is the key to best-in-class reporting. It’s reflected in our clients’ success in winning many awards such as PwC’s Building Public Trust Awards.

Trust. There’s that word again. Of course for us, earning our clients’ trust is equally important. With one of the UK’s largest and most experienced corporate reporting teams, we’re fully equipped to deliver end-to-end service - easing the pressure on our clients.

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Solar energy is the key area of business at Austria Solar. So Serviceplan has been thinking how best to put this type of energy to paper. We had the idea of developing an annual report that is driven by the sun. To put this idea into practice, an innovative printing technology had to be used for the first time. The result: the first annual report where the pages only become visible when sunlight falls on them. This exciting project managed to represent the importance and benefits of sunlight in a simple yet playful manner. It shows how, similar to solar plants, sunlight can be converted into other forms of energy, which brings us neatly back to Austria Solar.With this innovative annual report, we have succeeded in developing an attention-grabbing medium which depicts Austria Solar as a consistently innovative industry organisation for the Austrian solar sector.

SERVICEPLANTHE SOLAR ANNUAL REPORT 2011


SPORT




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Current Affairs

Paul BrandrethGraphic [email protected]+44 (0) 7526 597 249

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