I’ve become a bit of a collector of late, buying lots of different design magazines and publications and I’ve just found a fantastic way to discover new magazines, Stack. The concept is very simple, you subscribe and every month they will send you a different magazine. Pretty cool, right! I can’t vouch for their service as I’ve only just subscribed but they do come recommended. [via MagCulture]
For magazine culture/reviews in general, obviously always worth checking out MagCulture but also look at Linefeed for Michael Bojkowski’s monthly review of magazines. Incidentally Michael is the new art director of the recently relaunched Grafik.

Fluid identities are becoming ever more popular — and with good reason — when used appropriately they can be fantastic, providing an organisation with an ever evolving look while maintaining its brand values. MIT have developed a great new identity that plays on its role as an experimental media lab. The identity uses four beams of ‘light’ in 12 different colours to generate 40,000 permutations. It’s a lovely piece of work designed by E Roon Kang and Richard The. Even though lovely, I actually prefer the image with the identity as dots and beam outlines.
[via CoDesign]






I seem to spend a lot of my time mocking up iPhone and iPad apps so these iPhone UI stencil templates could be very useful (they also make for iPad, Android and websites). A lovely idea, and they sell pads of paper to go with them. It’s a huge shame (a big mistake in my opinion) that they aren’t actual size as it rather negates the use of a mockup. If you’re interested you can purchase them here.


Print-Process have a wonderful collection of posters for you to purchase. Out of these really lovely pieces, I have chosen a couple to post here that caught my eye. A series of posters very close to my heart by Mash Creative about time and metrology. There’s also a poster series of the new typeface by Hamish Muir and Paul McNeil. Very cool. Check out the website for more fantastic pieces of design.
A bit more information about Print-Process, the sister company of Blanka: With Print-Process the idea is to give more power to the customer. We have 1 fixed price structure [depending on the size of print you order] and the artists all work democratically to the same system. The customer can choose the print they want to own, but now depending on their finances or the size of the space they live in, they can chose the same great work but now are able to specify the size and better control the price they pay. The work is all digitally made to order to the highest giclee print standard, and to keep the cost friendly for the customer, it is made to an open ended edition. Some prints by some artists, whilst open ended, may run to a limited time frame. We believe this is an interesting way of getting our unique design work out to our customers without compromising artists’ individual standards. Our aim is that this will be a liberating concept and fulfilling experience for both our artists and our customers.



January 12, 2011 – 6:53 pm
This has been sitting on my desktop for months and I have no idea how I originally came across it, however, some lovely work from 25ah, a Stockholm based design agency, they have a cool website too.
“Promotional material and corporate identity for critically acclaimed restaurant F12′s outdoor terrace. To communicate that the terrace is open every day of the week, throughout the season, we gave every day of the week a strong lucid color and included a calendar of events on all the promotion material.”



December 25, 2010 – 1:06 am
Merry Christmas from noclichés, hope you have a lovely break and a Happy New Year. See you in 2011. (Although, there may be a few more posts before this year is out!)
December 5, 2010 – 8:40 pm
Another exhibition opening this week, curated by Graham Bignell of New North Press and graphic designer Richard Ardagh at the Standpoint Gallery.
10th–24th Dec 2010 and 4th–22nd Jan 2011
Exhibition open daily 10am-6pm
Private view: Thursday 9th December 6–9 pm
Standpoint Gallery, 45 Coronet Street, London N1 6HD

Reverting to Type is an exhibition of contemporary letterpress practitioners, showcasing how a centuries-old craft is being reinvented for modern day usage.
Contributers
Black Stone CAN / Brad Vetter USA / Carl Middleton UK / Dafi Kühne CH / Flowers&Fluerons UK / Hand & Eye UK / Hatch Show Print USA / Hi-Artz UK / IMPO$T AUS / Jens Jørgen Hansen DEN / Markus Müller CH Mark Pavey UK / Mr Smith UK / Occasional Print Club UK / Prensa La Libertad ARG / Rosa De Carlo UK / Team Nerd USA / Typoretum UK / Yee Haw! Industries USA
Collaborators
Catherine Dixon / David Peason / Fraser Muggeridge Studio / OPX design / Peter Aston Jones / Phil Baines / Stevey Scullion / Vikram Seth
The exhibition is curated by Graham Bignell of New North Press and graphic designer Richard Ardagh and features prints and publications by progressive practitioners from around the world. To coincide with the exhibition, New North Press has publishes the first in a series of collaborative prints by contemporary artists, designers and wordsmiths. The majority of the show’s unique exhibits will be for sale and the gallery will also host a working Adana press to hand-print your own personalised Christmas cards.
Reverting to Type aims to highlight the pioneers at the helm of the current resurgence of interest in letterpress; from computer-based designers with a desire to ply a craft with a tactile immediacy that has been lost with modern technology, to traditional presses finding a new way to revitalise their design output.

Background
Established in 1986 by Graham Bignell, New North Press is an artisan letterpress print studio, specialising in setting and printing by hand. Richard Ardagh is a graphic designer
who has worked with New North Press to produce collaborative poster editions such as Oranges & Lemons and a 150th anniversary print for Wilton’s Music Hall.
December 4, 2010 – 9:49 pm
An interesting exhibition is set to open on 6 December at the 272 Gallery in Holborn:
A response to modern society, on an individual level. These works have been created in response to the current cultural climate infused with personal observations of interactions. The exhibition will be open until the 10th December. More information available here.

Yana Naidenov

Fernando Quitério

Hannah Ross

Watith Tangjai

Inês Teles

November 26, 2010 – 1:44 pm
One of the advantages of being a former student of Hamish Muir is getting sneak peaks at new projects and designs. Just over a year ago Hamish showed me a typeface project he was working on with Paul McNeil and it looked both beautiful and fascinating. The typeface is now finished and available to purchase along with a lovely type specimen book which is now available from UnitEditions.
Here is a description of the project taken from the MuirMcNeil website:
ThreeSix is an experimental optical / geometric type system consisting of six typefaces in eight weights. It explores the possibilities of using systematic principles to generate geometric typeforms which are distinctive at large point sizes but which can also be read at smaller sizes in bodies of extended text.
ThreeSix implements a succession of related optical and structural interventions intended to compensate for some of its own intrinsic limitations. It is the result of our attempts to work within the restrictive rules of geometry to generate simple typographic forms emulating traditional type design principles, where a wide range of almost imperceptible compensatory optical tricks are used to create the illusion of evenness in the basic fabric of text.




Is this the end for the media industry?
2010 was the year of the tablet; the iPad, amongst a few other devices, was launched to much fanfare, as the “saviours of the media industry”, allowing revival for the ailing newspaper and magazine industries. However, this hasn’t happened. There are a number of factors that influence these sales, for example the high purchase price for the device is a hinderance and there is a lacklustre choice of newspapers and magazines. Perhaps design is the biggest obstacle; no-one has really understood or at least managed to make an app that really takes advantage of the iPad’s abilities. However, before we address this I think there’s a more important problem that hasn’t been solved.
Newspaper and magazine sales have been declining because of the internet, a huge network of information where everything is free and easily available with a few clicks or a search in Google. When articles are available online for free why would anyone pay for a printed copy? This also contributes to a different issue. Before the internet, if you wanted to know what had happened in the news or in a particular field of interest you would buy the newspaper or magazine which best suited your needs. Now that we can pick and choose we don’t want to get only one. In a way it’s akin to what happened to the music industry once digital distribution was realised – people don’t want to buy whole albums anymore. This, coupled with the the fact that availability has increased by a huge order of magnitude, can begin to explain the fall in sales. On the internet we can read anything, written by anyone, and while I am not suggesting bloggers will take over from journalists, feature writers and editors, we can now read articles written by journalists from all over the world, immediately after they’re written. The internet is so much better for news than any other format. This is creating huge problems for an old industry but the media can’t and shouldn’t reverse these successes. There are already publications that are taking advantage of this new availability; The Week, a weekly magazine which selects the news from broadsheets and tabloids and presents in a easily digestible package is a great comparison to what the internet now allows and provides.
The role of newspapers and magazines is hugely important in creating an informed and intelligent population. And we want editors to edit the news for us. So what is the solution and why has the tablet failed so far to change this downwards trend? Now we could say it’s too early to tell, after all, it’s been less than a year since the launch of the iPad, but I think the thinking behind these apps is quite revealing. News Corp are trying to reverse the impact of the internet for the noble reason of protecting their journalism. However, the approach blocks articles from being searchable, archivable but also ultimately read in the first place. This isn’t the place for an argument about how to pay for journalism but by trying to protect themselves News Corp have in a sense locked themselves out. Other organisations are trying similar tactics, but not hiding everything behind the paywall; the New York Times for example is currently requiring all users to register before accessing certain content on its website and iPad app, before eventually charging users. The Guardian is about to launch a new iPhone app which charges users a nominal subscription fee.
We can see the change happening but will these measures save the industries or hurt them further? I think there are two reasons why they have failed with the iPad. Firstly, the thinking behind what an app should be, how it should work, how it is different from the internet, how it is different to the web is lacking; secondly, the design of these apps is wrong, almost entirely. It’s easier to see why the latter statement is correct by looking at the popular apps on the iPad. The best apps are the RSS readers – apps like Flipboard, Pulse, BBC News and NPR. None of these apps are perfect but they all show a level of thinking which is currently lacking from the media industry. They understand the web and how to apply those lessons to an interactive device and they work in similar ways; you launch to find a load of content, tap on something to read in more detail and then go back to the mass of content. Just like a website. The New York Times app is part of the way there, little snap shots of articles before tapping to see the whole thing, but there is too much swiping in between. App designers need to realise that scrolling is easier than swiping. The Times app does this really well in a few sections, the Best of Times section and then at the beginning of Times2, where they also design the pages you see. However, the rest of the app is a disappointment, narrow columns and swiping just doesn’t make sense on a digital device. This is not a newspaper, don’t make it look like one. There are much poorer efforts by other newspapers – The Telegraph, The Sunday Times and i are too awful to mention. There are some nice looking apps that do this first part well though, The Financial Times, The New Yorker and USA Today for example.
However, there is a second part, and that is the fixed format which allows for designed pages, and no-one has got both of these right. Eureka magazine, which is part of The Times (and which I worked on) has done the latter part well with nicely designed pages, and they have reduced confusion by not following the magazine convention of both vertical and horizontal scrolling, but there’s still a long way to go. Magazine apps have been more adventurous but have generally failed even more so, creating gimmicky apps that are ugly and fail to work, plus become a pain to produce on a regular timescale. Virgin’s Project is absolutely dire and shows what happens when style over content is seen as acceptable at every level.
And now it is quite easy to see why the media apps are failing. They are all difficult to navigate requiring too many swipes, flicks and scrolls to find things. Eureka has a lovely opening navigation and the magazines have contents pages but where are the search bars? Have they learnt nothing from the web? Where are the related articles, tags and comments. They are not taking advantage of the fundamental tools available to them. Instead they are creating gimmicky apps without any real substance. Media companies are changing but without realising what is their best asset, their quality journalism and ability to edit, which they sacrifice to fads and pointless interactive content. Newspaper and magazine sales are down because the internet allows easy consumption and access to lots of information; the only way to start making money is by championing this in their apps and combining with excellent user-interface and editorial design. At the moment there isn’t an app which is better to use than the newspaper or website equivalent and this should be worrying to an ailing industry. The approach is entirely wrong; it is not the content that is the problem, it’s the way it’s being presented.