A student recently asked me why I don’t blog or tweet more about what I do — my job as a design leader and my profession generally. I told them I would like to write more. But given the abundance of folk foisting their favoured methodologies and worthy “how might we” questions online, I really don’t see a need for any further comment from myself.
“But you’re doing it now, David”. Ok, you got me.
I’ve just never been drawn to reading about design. That’s not to say it isn’t interesting. There’s gold in them-there hills. Little nuggets usually. And…
Balancing emotion with function is essential when choosing a typeface for your brand.
How we speak when meeting someone for the first time influences their first impression. It’s the same with written communication. From a logo or slogan to more complex messaging or instructions — your typeface paints a picture of who you are and why you’re worth knowing. It isn’t merely a branding element. It’s your visual tone of voice and therefore central to your brand. And remember; your brand is your reputation.
The BBC recently introduced it’s own corporate typeface, BBC Reith — a contemporary humanist font, comprising numerous styles and weights. As project lead, from inception to delivery, I feel incredibly proud of this piece of work — the stakeholder collaboration, the craftsmanship by Dalton Maag, and the benefits to both audience and organisation, (legibility, cost saving, distinctiveness), all make for a great story and a great typeface.
Whilst individually we see each other fairly regularly, it had been 12 years since we were all together in the same room. It was lovely to spend an afternoon reminiscing with my old friends Nick Bax, Michael Place, Matt Pyke and TDR founder Ian Anderson.
(I should point out that whilst this was dubbed a ‘reunion’, The Designers Republic is still in operation under Ian’s creative leadership)
Some of you will remember The Lawnmower Man, an early nineties sci-fi film in which James Bond experiments on his gardener with virtual reality. It wasn’t very good. Like Tron before it, the film left me feeling unimpressed with ‘VR’. It was cold, unrealistic and just daft looking. My ambivalence increased in the early noughties with the rise of virtual-world online gaming. The most popular of these was Second Life where users would socialise in nightclubs with rubberised perverts, and buy pixelated adidas with imaginary currency. Again, unimpressed. …
Talk: Eurobest 2014, Helsinki, Finland. (verbatim)
I joined the BBC in 2013, shortly after our division, BBC Digital, launched an online music service enabling our signed-in users to curate playlists of any music that they hear on the BBC — be it on TV, Radio or online. They can then be exported to third-party streaming services such as Spotify. It’s pretty neat, and is engaging our younger audiences — offering a more personalised BBC experience.
At the time of its launch a developer friend of mine questioned the need for “yet another” means of consuming music online, when the opportunities…
In 1993 I wasn’t a graphic designer. I was a well travelled skateboarder with a bar job. I’d ended a long-term(inal) relationship and was sharing a house with a cluster of hippie friends. Young and single, we existed in and out of each other’s, and other people’s, ‘bits’, and aside from the washing-up, our world was relatively carefree.
Retro guitar chivalry by the likes of Black Sabbath and The Stooges was our soundtrack. A Tribe Called Quest and Rage Against The Machine kept things current, but for me this was to be the time of my Led Zeppelin awakening.