As an editorial resident here at AIGA, I spend my time nosing around for interesting design-related goings on each week (so you don’t have to). Follow along all day, every day on Instagram @AIGAeyeondesign, Facebook, and Twitter @AIGAeyeondesign.
A superb new fashion publication called A Nasty Boy recently came to my attention, and boy am I glad it did. The site was created by Richard Akuson from his apartment in Lagos, Nigeria, with the aim to fill a void in terms of “radical, subversive, and disruptive” media in his home country. “The media space is filled with publications cut from the same cloth that do not feel the need to challenge, question and/or define in their own terms what they believe in and truly stand for,” says Akuson. “They would much rather state and restate popular opinion to build and sustain readership.”
The branding and site design are created by Minne Genevieve, who aimed for a look and feel that was “ globally appealing, modern, and graphic, but also not retro or kitsch.” The title font was inspired by “the graphic treatments of 1960s propaganda posters that represent defiance and revolution,” says Genevieve, “a theme that resonates deeply with A Nasty Boy’s mission to push boundaries in Africa’ s creative landscape.”
Anyone who likes a good old geek out over mid-century identity design will be chuffed to bits to discover a new book, Design for the Corporate World 1950-1975. The hefty tome was edited by Wim de Wit and accompanies a major exhibition at the Cantor Center at Stanford, California, running until August 21. It covers all the classics, like Olivetti and IBM typewriters, Paul Rand graphics, and more widely explores the relationships between the designers and the corporations which employed them. “It reveals not only why corporations during this period needed designers more than ever before, but also why designers felt ambivalent about their work for these large businesses,” says publisher Lund Humphries.
I blummin’ love synthesizers, and it seems my passion is shared by Brooklyn-based designer and animator Nicolo Bianchino . He’s created a lovely little animation celebrating Italo hero Giorgio Moroder, using crisp outlines and primary colors to form a very cute homage to the great man. Thanks, Nicolo! Now everyone listen to this, it’ll make your day, promise (depending on your tolerance for vocoders).
Good news for young creative Londoners and New Yorkers with no formal design training: D&AD has just launched New Blood Shift for the second year, its diversity program that offers a 12-week night school for creatives without university degrees. Tim Lindsay, D&AD’s CEO says, “The idea that creative excellence can only come from having a university degree has limited us for too long. Shift 2016 proved that the talent is out there, it just needs a helping hand. We want to work with the agencies and brands in creative industry to attract a far greater diversity of talent. People that can challenge what has gone before, can provide different perspectives and different solutions.”
Last year 17 people were selected, 11 of which have since found paid roles in studios including Havas, Leo Burnett, The Partners, Iris, Apple, Turner Duckworth, and MRM Meteorite. Entries for this year are being accespted until July 28.
More design-related good deeding here in the shape of The Green Light List, a site created by Swedish designer and design educator, Jenny Theolin to highlight agencies doing a great job of treating their junior workforce fairly. The project emerged when Theolin shared a LinkedIn post that called out the unfair treatment of emerging talent in the creative industries. She received a huge number of responses to her post, and teamed up with London agency +rehabstudio. to create a way of letting people call out the positives, and highlight creative workplaces that have done a great job of fairly and supportively employing interns, graduates, and juniors.
Next month sees the return of the Artist Self-Publishers’ Fair at London’s ICA gallery, a celebration of independent artist self-publishers. Now in its third year, the event only shows self-published work “to avoid the restrictions and market dominance that affects much of contemporary arts culture,” says the gallery. “The publications are still the art works: affordable and available, free from the fetters of the institution or gallery, the ideas, images and text are produced and published by artists who understand the restrictions and freedoms of the printed page.” As well as showing publications, the fair will also feature experimental music performances, recordings and audio interventions; readings; an exhibition from Nervemeter Magazine; and a live-publishing project. The one-day fair takes place on July 8.