△
Design Assembly – 3
Design: Matt Judge
Company: Assembly
Project website: da3.designassembly.org

Fonts Used: 
Book 01 — Hermes
Book 02 — Haas Unica and Austin
Book 03 — Georgia

△
Limited Edition Print
To coincide with the release of the book, the illustrator Paul Davis has produced a unique Limited Edition artwork, Charlie, on the theme of 3 with the cause firmly in mind. Again, all proceeds will go to the chosen charities.

△
Launch Invite

MATT JUDGE on ’3′

In October 2011 — 148 posts, 904 comments and over 2.5m visits later — Design Assembly celebrated it’s 3rd anniversary.

Spurred by losing my father to cancer last year, and the frightening statistic that 1-in-3 of us will be diagnosed with some form of cancer in our lifetime, I made the decision to donate the past 3 years of energy and effort to a greater cause — fighting cancer.

I did this by producing a book, 3 in fact, archiving the past 3 years of discourse, and showcasing new and exclusive material from leading industry professionals. Each book is distinct in content, design and form — joined together only by a unique binding, and a highlight colour palette of RGB.

Book 01: An Introduction to the project, the cause and its contributors
Book 02: New material, split into 4 sections — Design Discourse, Inspiration, Showcase and Good Design.
Book 03: An archive of the Design Assembly website, including user comments.

100% of the profits from the sale of this publication will be shared between 3 charities with a combined global reach:
—Cancer Research UK (United Kingdom)
—LIVESTRONG (N.America)
—WCRF International (Rest of world)

The total amount raised will be distributed proportionately between the charities, according to the percentage of profits generated by each catchment. For example, if 50% of profits are raised by pledges from US billing addresses, 50% of profits will be donated to LIVESTRONG, and so on.

da3.designassembly.org

Hat tip to Matt for providing the high-res imagery, but more importantly producing a great piece of design for a cause close to many our hearts. Design can make a positive difference in the world :)

If you’re new here, don’t forget to Subscribe & follow SI on Twitter for your weekly dose of visual crack. ;)

△
The Concept

“Never Forever Never for Now” is a quantitative visualisation of the transient nature of empire. The visualisation graphs all known empires, colonies and territorial occupations from 2334 BCE to the present day. Each empire occupies a slice of the pie graph with a known start (+) and end (×) date. Each slice is assigned a transparency value of 10% allowing for concurrent empires to be visualised – the more empires that occupy the same period of time in history, the whiter the graph. As history progresses, humankind’s competition for wealth, resources and the relentless drive toward conquest and occupation can be clearly seen in the graph.

The data shows an accelerating trend toward greater and greater conquest of territory and greater and greater competition amongst imperial powers. The graph starts relatively light (top right portion of graph) as early cultures maintain territory that can be considered indigenous. With time, cultures encroach upon one another as shown in the heavy white areas to the left of the graph (representing 900 CE to 1900 CE). The wavelike variation in imperial occupation reveals cyclical patterns of conflict in history due most likely to the evolution of cultural, ethic and religious identity where the separation of self and other provides the nascent conditions within which conquest is morally justified. Despite this, even the longest lasting empire, the 2000+ year Chinese Imperial Era, came to an end – as all past empires have and predictably, extant empires will. The last 100 years (left of centre top) reveals a precipitous decline in empire with only four remaining occupying powers : The United States of America, Israel, Morocco and Turkey.

Process
Format—C-type print on Fujiflex plastic with screen print text in matte white ink. Print by K2 Screen, London.

Size—720mm x 1016mm : Quantity—25

Available to purchase by clicking here (tip: click on the little arrow to reveal the ‘buy’ link ;)

The Luxury of Protest AKA Peter Crnokrak AKA “the guy who makes data look beautiful” is back for another round of what he does best – data visualisation which is as much an art as it is design.

I you’re new to his work (where have you been!) or you simply want a pleasant reminder of the other amazing pieces this gentleman has done in the past look no further than here.

Thank you once again to my good friend Peter for the heads up and the exclusive :)

If you’re new here, don’t forget to Subscribe & follow SI on Twitter for your weekly dose of visual crack. ;)

△
After discovering a large collection of antique London postcards, we decided to give them a new lease of life and send them out once more as a promotional mailer for the studio. Each postcard is completely unique with vintage postage stamps and handwriting that dates back as early as 1901.

△
Brand identity for moving image studio Art & Graft. The two parts of the name are represented by a carefully crafted monogram and a contrasting utilitarian approach to the typography.

△
Promotional poster showing the broad scope of work by photographer Hannah Thomas, held up to the light the feather weight paper acts like a light box maximising the effect of the images.

△
Booklet and poster promoting the range of media based training courses currently available at Space Studios.

△
Brand identity for London based events company The Higher The Fewer. Based on a traditional British aesthetic and typographic representation of the name.

Ladies and gentlemen, what you’ve just witnessed here on SI is some brand new work from Collective Approach, a studio who I’ve had nothing but praise for since featuring them last June. Not only have they updated the contents of their portfolio (isn’t the A&G work delicious?!) they’ve also updated their online portfolio/presence itself – the result is a beautifully restrained, easy to navigate website blessed with a touch of jquery. Suffice to say, if this work is anything to go by, I predict a great year ahead for this London based design consultancy. Thank you once again to Tom @ CA for the high-res imagery.

www.collectiveapproach.com

If you’re new here, don’t forget to Subscribe, FFFFOUND! & follow SI on Twitter for your weekly dose of visual crack. ;)

Design He Said–She Said

Having been out of action for a week (my internet connection has been plagued with problems) it’s nice to mark my return to the “scene” with some lovely work courtesy of Clare Styles @ He Said–She Said. Read on for a profile of the studio and be sure to click the “next page” link directly below the profile for more work!

Clare Styles / He Said—She Said
The work of Clare Styles embodies a passion for outstanding and effective design. Styles’s design sensibilities have been crafted around a love for typography along with a irreverence for convention. Her work communicates a vibrant energy with clients including McLaren, Sony, 3, Rizla, Nokia, Umbro, Coca-Cola, Manhattan Loft Corporation, Red Bull, Boots, Orange, London 2012, Knoll, and Robert Horne. Clare spent the early years of her career working alongside Alan Fletcher at Phaidon and then went onto Navyblue where she stayed for 8 years becoming Creative Director and a group shareholder. From there Clare then went on to Exposure to become Creative Director and was tasked with refocussing the energy and creative drive of the design studio which she did successfully throughout the next 2 years. It was here where Clare met here future business partner and after 2 years freelancing at agencies such as Wieden + Kennedy, Fitch, and Naked Clare has partnered they decided it was time to set up their own design studio, He Said—She Said.

The ethos of ‘He Said—She Said’ reflects not only the way in which Simon and Clare work together but also how they prefer to work with their clients, design for them is not about any one persons whim or ego exercise but a process that is enriched through encouraging healthy discussion and debate. This ultimately helps them produce more effective and informed work that everyone involved can feel proud of.

It became more and more apparent that because everyone is constantly exposed to various aspects of communication and design, that very little actually registers a reaction or creates a lasting impression. So with that in mind He Said—She Said love the idea of designing work that gets people talking and engaging, ideally the consumer would love it but if they hate it then He Said—She Said would respect that too.

Page 1 2

Zanders ZETA ‘Creative Surfaces’ campaign 2009
Design Roundel
Digital Images Andreas Schmelas
Photography Jason Tozer

“As part of a campaign to raise awareness of ZETA’s paper range, our brief was to create a set of phased mailings which would highlight the range and its versatility. It was particularly important to emphasise its availability in six different finishes, and to promote ZETA’s all round creative potential, challenging the perception that it is a paper for business stationery only.

Our solution was to create a set of six posters, one for each finish in the ZETA range. We tasked two very different yet complementary artists to each create three images inspired by the paper’s surfaces:

Andreas Schmelas’ digital images, created using the programming language VVVV, are a combination of mathematics, chance and coincidence.

Jason Tozer’s photographic images show us the world that our eyes cannot see, capturing details that often last just a fraction of a second. The startling and beautiful results, printed using a range of ambitious techniques and finishes, are folded so that the printed front side and the unprinted reverse can be viewed alongside one another.

The posters are presented in a foil-blocked box complete with an information card using discreet matching typography in fluorescent pink and gold. The poster campaign was launched with a technical ‘Printed On’ sheet and response postcard and followed-up with a Swiss-bound designer’s notebook featuring intriguing snippets of the poster images, printed in just one colour.”

If you’ve been following SeptemberIndustry on Twitter, you’ll no doubt have heard talk about how this week will be a week of exclusives. So staying true to my word, we start things off with some new work from Roundel including plenty of hi-res imagery for your viewing pleasure. A big thank you to Ross for the images and info and a shout out goes to the Roundel team for the SI love :) .

The entire collection of images can viewed on Flickr here.

-
Just a quick note: Make sure you drop by SeptemberIndustry on Friday for another Golden exclusive. Trust me you don’t want to miss it… ;)

Brooklyn based designers David Heasty and Stefanie Weigler (triboro) have produced a new New York City subway map printed in a single color–florescent red. The map has been printed in a limited edition offset-litho run of only 300 pieces. At 45 x 58 inches the poster is the same size as the large MTA Subway maps that are located at entrances to New York Subway stations.

The new design strips away the familiar color-coding of the subway system routes while still maintaining a level of hierarchy and functionality. All lines of the map are forced to conform to an underlying grid of 45 and 90 degree angles, yet surprisingly, the landmass contours here are more true-to-life than on the MTA map. The florescent red color becomes an unpredictable variable, as legibility can change completely under different lighting conditions. The neon effect can be intense and retina-burning under certain lamps, washed out and unreadable in other environments, or glow otherworldly under black-lights.

Some of you may have already seen this poster last week, but I can guarantee you haven’t seen these images which were only shot last Friday! Why did I go out of my way to acquire these images you ask? Simple: if you plan on buying something such as, I don’t know… This lovely poster, you want to know where your money is going and you’re not going to get that from a 500px wide image… ;)

Everyone Ever in the World Poster
Design The Luxury of Protest

“Commissioned by, and available exclusively from Counter-Objects. Everyone Ever in the World is a visual representation of the number of people to have lived versus been killed in wars, massacres and genocide during the recorded history of humankind. The visualisation uses existing paper area and paper loss (die cut circle) to represent the concepts of life and death respectively. The total number of people killed in conflicts (969 million) is ~1.25% of all the people to have ever lived (77.6 billion). The timescale encompasses 3200 BCE to 2009 CE – a period of over 5 millennia, and 1100+ conflicts of recorded human history.

The sequence of dots to the top left of the graph shows the dramatic increase in the number of conflicts over the past 5 millennia (left to right : 3000 BCE to 2000 CE) with the most recent 1000 years being the most violent. The large dot below the graph represents the 1000 years to come : a predicted startling increase in human conflict.

The relative simplicity and intuitive graphical approach of using a die cut area to represent total people killed, lends a direct symbolism to the concept and affords the viewer an instantaneous assessment of the degree to which conflict has shaped human history.”

Peter (the cheeky chap that he is for emailing every decent design blog under the sun about this new poster) has outdone himself yet again with this fantastic piece of plastic which you can buy at the newly launched Counter-Objects.co.uk online design shop ;) . As with all of Peter’s screen printed pieces, K2 really had their work cut out for them!