Our guest blog post, as featured on Creative Review and LogoDesignLove.
One of the services we offer as a design agency is logo design. No surprises then when we recently stumbled upon another agency offering the same service. So far, so average – the majority of graphic design agencies throughout the world do exactly the same. The difference with this one, however, was the costing of their work. Keep reading…
2011. It’s been busy, it’s been stupidly quick and most importantly, it’s been good. Along with the constant stresses and pressures that go along with doing what we do, this year has been a decidedly positive one here at Dolphin Heights. We thought a good way to round off the year was to take a quick look back at what we’ve been up to in the last 12 months. What’s been keeping us busy in and out of work, where we’ve been, what we’ve been doing and who we’ve been doing it with.
We realised recently that it’s been AGES since we last posted a Five Things. For the uninitiated, it’s a regular series in our blog in which we share five interesting, creative things that we’ve spotted on the world wide internet over the course of the last week or so. It’s always a mixed bag, and this post in no different. Jelly hand grenades, flying dogs, sitting on Hercules’ face and festive booze are just a few of the things you can expect to see this time round. Take two minutes out of your day, put your feet up and have a look at what we’ve found for you.
Born and based in Illinois, Chad Wys is a ‘visual conceptual artist, designer and writer’. His work covers a number of mediums including digital manipulation, painting, sculpture and mixed media, and his interest is largely focused around the deconstruction and appropriation of pre-existing images and objects. His work explores ways of finding a new meaning within the art he finds by altering and playing with what’s already there. After coming across his work on sites such as Ffffound and Behance, we got in touch with Chad to see if he’d be interested in answering our Ten Questions. Luckily for us, he was.
Read on for an insight into the thought process, concepts and inspirations that go into Chad’s work.
Simon Birch is and artist based in Hong Kong. Working mainly in large-scale, figurative oil paintings, his recent direction has included installation and film. Past exhibitions have been held throughout the world including at London’s Haunch of Venison Gallery and Tokyo Museum of Contemporary Art. With more recent shows in Hong Kong, such as ‘Laughing With A Mouth Full Of Blood’ and a large-scale collaborative exhibition entitled Hope & Glory. Filling the 20,000 square feet of ArtisTree Exhibition Space in Beijing’s Taikoo Place, the installation took the viewer through a metaphysical world, or ‘conceptual circus’ and saw Birch working alongside a broad range of collaborators including artist Stanley Wong, photographer Wing Shya, British music producer James Lavelle, filmmaker Eric Hu, designer Douglas Young, architect Paul Kember, actor Daniel Wu and Beijing-based artist Cang Xin. Birch’s work explores the concept of ‘universal ideas of transition, the ambiguous moment between an initiation and a conclusion, the unobtainable now and the future, inevitably crashing towards us’.
His work has been featured and reviewed in many international publications, including Artforum, The Guardian, The International Herald Tribune, Time Out and the New York Times. He was kind enough to take some time out and get involved with our Ten Questions series.
Glug London is an event for people from the creative industries to come together, have a few drinks and hear talks from some of the most creative designers and studios around. Each event has seen a steady growth with bigger names talking, bigger venues selling out and more people scrambling to get tickets. Needless to say, they’ve been busy. With this in mind, we thought it was time to catch up with founders Ian Hambleton and Nick Clement to have a chat about the event and see what they’ve got in the pipeline.
A while ago we received an email out of the blue asking if we’d like to be involved with an upcoming typography exhibition. Imaginary Menagerie is being held at Text/Gallery in Holborn and features work from a number of designers exploring ‘language’s difficult, tongue-tripping, unpronounceable labyrinths typographically and in their own language’. Using typography to visually communicate a difficult to say phrase or sentence sounded like an interesting brief, so we promptly agreed. Well up for it.
A retreat to Japan in an attempt to escape London for a while was the starting point for John Paul Thurlow’s best known work. Whilst drawing the contents of his room he came across a travel sized copy of British Elle and recreated the cover as a pencil drawing (amending the title to read ‘Hell’ as an expression of his mood). From that point on John Paul has made it his mission to ‘recreate cover art for every great magazine and record’ he owns. The meticulously intricate drawings are far from perfect reproductions – they are filled with his own additional scrawlings, notes, thoughts, feelings and scribbles to make them a one of a kind piece of art based on a mass produced piece of media.
John Paul was kind enough to take the time out to answer our Ten Questions.
There has been some internet chatter of late debating whether it’s necessary for designers to learn back-end coding, much of it around Frank Chimero’s Designers vs Coding post which is currently doing the rounds. Being the all-knowing opinion formers that we are, we couldn’t help but let our thoughts be known on the matter.
A couple of months ago we took a trip to the Pentagram offices in Needham Road, West London to attend a talk by designer, Pentgram partner, author and all round nice-guy Angus Hyland. The talk focused on symbols and was organised in conjunction with the publication of Symbol, the recent book by Hyland and Steve Bateman. The talk was utterly brilliant and the book is equally so. Highly recommended.
Whilst I could write at length about the talk itself and the points Hyland raised, there was one thing he said that particularly stuck out for me. When talking about the more unusual, quirky and perhaps even awkward logo designs from years gone by Hyland said…
