Hello, and welcome to this week’s Design Diary—our 200th installment! As per usual, this one’s a collection of five projects from across the world that have impressed us this week. 

For more along these lines (and so many others) follow along all day, every day on Instagram @AIGAeyeondesign, Facebook, and Twitter @AIGAeyeondesign.

Here’s an unusual career trajectory: New York Times illustrator and designer to ecological ink-making entrepreneur. And yet, Jason Logan has made the transition seamlessly, not to mention successfully: His Toronto Ink Company sells fine-quality inks that are “harvested from the streets and trees of Toronto,” made with all natural pigments, food-grade Indian shellac, and Canadian Shield wintergreen. They come in colors like Sumac, Tumeric, and Black Walnut. They are all made from “street-harvested” ingredients, which is a term we just learned. And with Logan’s book forthcoming, you too learn to take materials such as soot, rust, cigarette butts (!), and peach pits, and transform them ingredients into rich, vibrant inks that are also safe and sustainable. And look very nice.

For the third year running, D&AD, the global association for advertising and design, is putting on Shift London, a 12-week night school for people looking to break into the creative industries without a degree. Through workshops, talks by top talent, and simulated briefs the course preps young people for work in the creative industries, all the while making the field more diverse and more accessible.

Plus it’s got a great track record: 84% of ‘Shifters’ in last year’s program entered into paid creative employment. Compare that to 41% of design graduates and just 24% of media graduates employed in their sectors after 6 months of graduation from a school of higher education. Applications close on August 1; sign up here.

Studio Crême sent over some new work for the designer Natsai Chieza, whose biodesign research lab Faber Futures integrates design, biology, and technology to create new sustainable materials. Chieza, who has been working in this space for eight years—and has a popular TED Talk about synthetic biology to manufacture sustainable, color-fast dye—approached Studio Crême to redesign Faber’s website and produce a series of 3D films, printed collateral, and visuals that communicate the key themes of her work. The result is a vibrant website; a clever, stripped back icon in which the two “f’s” of the name abstractly represent the concept of biomimicry; and liquid, otherworldly visuals that evoke the lab’s futuristic mission and the ideas behind its innovative materials.

Graphic Design Festival Scotland is back for a fifth year, and with 28 events rolling out over 7 days, it’s the biggest festival to date. The 2018 lineup includes many an Eye on Design fave—Pentagram’s Naresh Ramchadani, Erik Kessels, David Carson, Noemie Le Coz, Noviki, GraphicDesign&, Caviar, Or Type, Studio Spass, and many more. Warriors Studio (James Gilchrist and Beth Wilson, who run GDFS), along with fellow Glasgow studio Cause & Effect, created this year’s identity, riffing off of a five-year-old’s birthday party, “but with a graphic design slant.” Which, once you watch the video below, seems a bit of an understatement. See the full invite for the bash here.

And finally, the Design Museum in London announced their esteemed designers in residence for 2018. The four selected—whittled down by a distinguished panel of designers—will take up residency in the museum’s in-house studio for seven months, creating new work and exploring new processes around the theme of “Dwelling.” The designers are Hester Buck, a member of the non-profit critical design practice public works; Ella Bulley, a London-based designer working in textiles and set design; Dr Helga Schmid, an interdisciplinary researcher, experience and communication designer; and Eva Jäger & Guillemette Legrand  of the multimedia practice Legrand Jäger. The work they make as residents will be showcased for the public  between November 2018 and March 2019.