Hello, and welcome to Design Diary, a collection of five projects from across the world that have impressed us this week.
Pretty much just as it says on the Warhol-esque tin, Time Out 50: 50 Years, 50 Covers is a book and exhibition that presents 50 Time Out covers from 1968 to the present. Curated by the mag’s editors, the show offers a potted history of the cities Time Out offers the keys too, showing not just how cover design has evolved, but also how we responded to events like the London terror attacks in 2005. Warhol as a muse seems to be a constant throughout: he was interviewed for an early 1968 issue of the magazine; a cover bearing the glorious Joanna Lumley not-so-subtly bears his mark; and the November 2011 designs for a Sydney edition focused on vintage shops openly pays homage to the artist’s Brillo boxes.
Both the book and the exhibition include the first Time Out London issue from 1968; the 1974 cover marking Winston Churchill’s 100th anniversary with a “subversive take on his trademark V-sign;” and the first free Time Out London magazine from 2012. Cover stars including David Bowie and Elton John, as well as collaborations with the likes of Jamie Hewlett and Ralph Steadman.
The exhibition is on at the Museum of Brands in London until March 3, 2019.
Designer and creative director Radim Malinic (of London-based “micro agency” Brand Nu) isn’t a man short on words or advice for budding creatives. So it’s perhaps little surprise that relatively soon after the release of his first Book of Ideas, he’s treated us to volume two.
The second book in the series follows the format of the first, offering short snippets of wisdom on anything and everything around “making it” as a creative—be that how to manage time, how to navigate long-distance client relationships, the importance of quiet time, or why he’s turned to meditation. The book is illustrated with Malinic’s own projects, showing how certain principles outlined in each of the chapters informed particular aspects of his portfolio. “The book won’t teach you how to design, but it should show you how you can be a better and more thoughtful designer, thinker, and creator,” Malinic says.
You can always rely on east London-based studio Praline to make excellent exhibition and art-based graphics (check out its work for Art Night last year, if you don’t believe us), and this latest work is no exception. This year, Praline has worked with Brighton-based design studio Curious Space on Immortalised, a project for Historic England that takes the form of an “immersive exhibition, where bold graphics and ephemeral monuments hold the key to our memorial past and future.” The show explores the ways people and events have been commemorated in England, by the statues, the plaques, shrines, and murals that “mark heroic, quirky, inspirational, and challenging lives,” says Praline. “But while some people are heralded, others are unrepresented: women, the working classes, and people of color are much less likely to have a place on the plinth.”
The graphics are innovative and arresting, borrowing from the aesthetics of billboards and flyposting to feel “light and temporary” by playing with varying sizes and colors, and using low-cost production techniques on a range of different materials. “The overall aim was to create a flexible space whereby visitors can make connections between various themes and arguments,” says Praline.
The gallery, which is actually sited in founder Valerie Von Meiss’ apartment, is opening its doors this Saturday and Sunday (the 29th and 30th of September) for a special show saucily entitled Strip in the Curve. The show presents a mixture of new and older works from the duo, and is named as a reference to the way DR.ME strips and reorganizes images to “obscure, redact, censor or simply make new,” says the gallery. “The interweaving of the two layers creates a new interplay of allusion and open directness, of exposure, withdrawal, and censorship; the human eye, which always tries to complete the fragmentary images, is deceived again and again.” Open by appointment only; email firstname.lastname@example.org.
Anna is a new business account service specifically aimed at “creative professionals” and designed by a stellar cast: illustrator Alice Bowsher, graphic designer Michael Wolff, and NB Studio. The name of the brand is a cute little acronym for “Absolutely No-Nonsense Admin,” and Anna comprises business accounts and administrative assistance service aimed at supporting small and medium-sized enterprises (SMEs) in the creative industries.
“Traditionally, there’s no place for emotion in finance; we wanted the visual identity to embody the opposite of that,” says Nick Finney of NB Studio. “As a small business owner, you’re there to do something you love. The identity we created features illustrations by Alice Bowsher, whose charming, playful drawings help make Anna an approachable and relatable brand. The warmth of the terracotta orange throughout the website, digital platforms, and collateral stands in sharp contrast to the traditional cold blues of banks, corporations, and traditional fintech.”