... to catch Tom Eckersley: Master of the Poster at University of the Arts London (UAL / London College of Communication).
"To mark the centenary of legendary graphic designer Tom Eckersley’s birth, London College of Communication presents an exhibition of iconic Eckersley poster designs which celebrate his enormous contribution to graphic communication and design education in Britain."
Tom Eckersley's career as a graphic desgner spanned six decades. The 'undoubted master of the poster', designed iconic posters for Royal Society for the Prevention of Accidents (RoSPA) encouraging safety in the workplace, for the Air Ministry during WWII, the General Post Office, London Transport and the BBC all in his distinctive bold, bright style. In the mid 50s Eckersley joined the London College of Printing (UAl: London College of Communication) establishing the first under-graduate graphic design course in Britain. During his 20 years as Head of Graphic Design he taught many well-known creatives of our time including; Ralph Steadman, Charles Saatchi and John Hegarty.
This exhibition is showing a selection of posters from the UAL's Eckersley archive along with reflections from those he influenced during his long career, but it ends on Wednesday (!) so hurry on over there. It's open 10am - 5pm tomorrow and Wednesday.
Fun Instagram images for a Friday afternoon.
These little minimalist collages using everyday objects are photographed and posted regularly to instagram by illustrator Javier Parez.
Only in England: Photographs by Tony Ray-Jones and Martin Parr demonstrates, "the close relationships between the work of these two important photographers" by showcasing over 50 unseen images from the National Media Museum's Ray-Jones archive chosen by Martin Parr alongside The Non-Conformists, a selection of rarely seen Parr images from the 70s.
English born photographer, Tony Ray-Jones graduated from Yale University School of Art in 1964 and on returning to England travelled across the country capturing, "what he saw as a disappearing way of life" - English eccentricities and social customs. Images which struck a chord with Martin Parr and became a great influence on his work.
This exhibition runs until the 16 March 2014 at the Science Museum, London.
#142 - Vintage Boulangerie Patisserie receipt, "Pains de Régime - Specialité de Croissants, Graines & Farines".
A new addition to the reference box - this is the first of my Paris ephemera haul from the Marché aux Puces (flea markets).
It's a letter-pressed receipt probably from around the early 1900s. If only receipts were this elaborate today, shopping would be much more fun!
Today marks 75 years of Blue Note Records, surely that's a good enough excuse to look through some of their wonderful LP covers.
Blue Note was founded "when a German immigrant and passionate Jazz fan named Alfred Lion produced his first recording session on January 6, 1939 in New York City. Blue Note has gone on to represent The Finest In Jazz, tracing the entire history of the music from Hot Jazz, Boogie Woogie, and Swing, through Bebop, Hard Bop, Post Bop, Soul Jazz, Avant-Garde, and Fusion".
Throughout their 75 year history Blue Note have also been responsible for some of the finest, most desired and collected abum covers of all time. They're all fantastic but I had to be selective, so here are some of my favourites designed by Ried Miles, John Hermansader and Paul Bacon in the 50s and 60s. You can see a much larger selection on the great Birka Jazz Archive - but be warned you will need a spare couple of hours!
Merry Christmas guys and gals!
Let the festivities begin - eat, drink and be merry all the way to 2014.
I know you're probably sick of the sight of gift wrap at the minute, but this collection of vintage Christmas wrap from the deepest depths of Flickr is so gorgeous, I'm sure it will restore your festive cheer.
We've just finished this identity for the wonderful folks at The Video Volks, "an online video channel which features VWs from the UK".
Check out their new teaser, The Fire Bus:
The countdown to Christmas has begun and our range of hand letter-pressed Christmas Cards are now gracing the virtual shelves of Art-O-Mart.
From Christmas puds to Christmas bunting, there's a design for everyone - even the grumpy. Check them out here.
#141 - Smiths Bluecol playing card, circa 1950.
Not sure why an anti-freeze company would produce playing cards, but I'm glad they did. The sleet and snow illustrations are beautiful - the snowflakes are so fine and delicate.
Check out the other 140 pieces of ephemera stashed away in our reference box here.
An exhibition that, "takes you into the world of fashion designer Paul Smith, a world of creation, inspiration, collaboration, wit and beauty".
Hello My Name is Paul Smith follows the career of the genius that is Paul Smith from the opening of his first shop in Byard Lane, Nottingham (1970) to the global 'quintessentially British label' it is today. It showcases his influences, his eclectic archives and his design process - "The whole point is anyone can come and get goose bumps and be inspired".
The exhibition opens today at The Design Museum and runs until March 2014 but don't worry if you can't make it, there's an accompanying book 'Hello, my name is Paul Smith: Fashion and other stories' edited by Alan Aboud and published by Rizzoli.
Here's a great little interview with designer Magaret Calvert at the AGI Open London 2013 by Design Indaba. I'm sure you all know, but Magaret along with her former tutor Jack Kinnear created and developed the British road signs we see everyday.
“When you design road signs you have to start from scratch,” she says. “We looked at what they already had and then started drawing letterforms in terms of making it readable for the driver.”
From the US Bureau of Supplies and Accounts: Navy, I love these WW2 anti greed and food waste posters illustrated by Hotchkiss with the exception of the last one which was illustrated by Dennis the Menace creator Hank Ketcham.
Funny that these messages are still valid today, 70 years on.
Pop Art Design starts tomorrow at the Barbican! With over 200 works from over 70 artists and designers including Peter Blake, Roy Lichtenstein, Andy Warhol, Charles and Ray Eames, it's going to be a great exhibition.
"Pop artists commented on the cult of celebrity, commodity fetishism and the proliferation of media that permeated everyday life in America and the United Kingdom after the Second World War. Radically departing from all that had gone before, artists delighted in adopting the design language of advertising, television and commerce to create work that was playful but often also intentionally irreverent and provocative. In turn, designers routinely looked to Pop Art as a constant source of inspiration. Pop Art Design paints a new picture of Pop – one that recognises the central role played by design."
The exhibition runs until February 2014 so there's plenty of time to get down there and I have it on very good authority that the gallery shop is packed full with fabulous pop art style goodies.
An oh-so-true post by London creative agency, Sell! Sell! as to why 'unreasonable' client expectations are the fault of the agencies. The points they make are equally relevant to the design industry (or in fact any creative industry) so here it is, the most words I've ever posted:
Why Agencies Are Responsible For 'Unreasonable' Client Expectations
A smart salesman that I know once blew my mind with this simple statement:
We train clients to expect what they expect.
It's a simple truth.
Clients can ask for a campaign to be turned around in a day
or five different 'routes'
or a TV commercial to be made for way less than it should really take
or a photo shoot on a pittance
or for changes that make the work worse
or for excruciatingly small fees from the agency.
They can ask for what they want. It is a free world.
But it is only when agencies say yes to these things, only when agencies and agency staff are complicit, that these requests, and this behaviour, is given credibility.
Agreeing to do it endorses the request.
That is how clients have been trained to expect all of the unreasonable and harmful things that have become part and parcel of advertising for most people at most agencies.
It is because there are always enough agencies and people out there willing to say yes to the next unreasonable demand.
I'll be honest here - we spend an unbelievable amount of energy here at Sell! Towers managing the process of not agreeing to the kinds of things listed above. It's the harder road. It's much easier in the short term to say yes.
And we know that many agencies out there are saying yes.
But, we are honest with out clients about our high fees up front - and we know that some clients who wanted to work with us have walked away because of that - we can live with that.
It means the ones who work with us, value us.
We resist changes and amendments to work that we believe will make it less good, that takes a lot of managing and takes time, energy and skill to build relationships with clients strong and respectful enough for that to be possible, but we think it's worth it.
We don't work to piss-take schedules, we don't make people work weekends and through the night to meet them.
We don't take the piss out of suppliers by passing on unreasonable cost requests, or by hammering them unreasonably just because a job is a 'creative opportunity'.
We don't churn out work to meet a set number of routes, or as cannon fodder. We only work on things that we think will be the solution.
In short, we do all of the things that we think it takes to be a creative agency of integrity, with standards and professionalism, and with respect for those we work with.
But it's becoming increasingly obvious that there are tons of agencies out there who will literally do whatever they're asked to gain or keep a piece of business.
On a level, it's understandable. The advertising market is massively over-supplied. This means that some people become increasingly desperate to win business.
Small agencies trying anything to compete.
Other kinds of businesses - like digital specialists, pr firms, and production companies - trying to get in on the advertising budgets.
And network agencies, pushed by pressure from afar to gain and retain clients at all costs.
They all have their reasons.
It's understandable, but it's not excusable.
And yes, we are lucky, because we are masters of our own destiny, so to speak. We can make these choices.
But we have made the choices not to become a lowest common denominator agency, not to compete on price, speed and how often we can say yes.
And the result is, we work with the kind of clients who value that. We have a great group of clients, but it takes a lot of work, and effort and time to build those relationships of trust and respect.
And it often seems like the number of clients who want an agency like that is reducing - so much so that these days we openly say that we're the "Creative agency for the 1%" of clients.
And we're okay with that.
It works for us.
But it's funny when you hear agency people complaining about clients' behaviour and expectations.
They blame it all on the client. Yet their own agency endorses those requests by agreeing to them.
The simple fact is, while there are enough agencies out there that will agree to the unreasonable, the unreasonable will always be expected.
If clients aren't made to realise the something is unreasonable, how are they expected to know that it's unreasonable?
No one made out it was unreasonable. They asked, and someone said yes.
Or in other words, as my friend rightly said: We train clients to expect what they expect.
Welcome to the Delicious Industries blog. We're an independent design studio based in Brighton, UK and this is our scrapbook packed full of design, illustration, photography & typography inspiration. Check out our work here.