We designed the graphics for the Crafts Council’s touring exhibition ‘A Curious Turn’. The exhibition launched in London a few days ago, and will set off on a nationwide tour in October. The exhibition explores the history of automata – ‘amazing moving mechanical sculptures’ operated by the turn of a crank to set the mechanics in motion to amaze, entertain and provoke thought in the audience.
We recently curated and designed this exhibition which celebrates 100 years of graphic communication by women who studied or taught at Central Saint Martins. It generated a lot of interest, and interviews and blog posts can be found at Buzzfeed, Central Saint Martins, American Institute of Graphic Arts, It’s Nice That, Johnson Banks, and Adrem Recruitment.
Coinciding with Women’s History Month, and international women’s day, the exhibition was based on Ruth’s ongoing research into the history of women in Britain in graphic design. It was on show to the public at Central Saint Martins from 23 February to 22 March 2016.
Many thanks are due to the team of CSM graduates and students who helped make the show happen:
Miho Aishima and Kat Garner for their invaluable work on curation and design. Thank you also to Amanda Choy, Clara Metter, Elky Li, Emilien Rabin, Lucy Budd and Syd Hausman.
More information on the designers in the exhibition can be found at http://graphicsukwomen.com/
Photo: Miho Aishima
We have just completed the designs for Fluidity’s Christmas sale window. Based on the embroidered embellishments dominating this season’s garments, we designed a snowflake made from sequins.
Here are the proofs from the vinyl-cutter utilising their gold and silver vinyls – soon to be in the windows of their shops.
During the restoration of the Sandham Memorial Chapel, Stanley Spencer’s First World War paintings which were painted for the chapel were shown in an exhibition at Somerset House. The exhibition, designed by Casson Mann, showed the paintings as they would have been in their original setting in the chapel, but gallery lighting enabled visitors to see them as they had never been seen before.
Stanley was commissioned by Mr & Mrs Behrend to paint the murals in their recently commissioned chapel in 1923, and they were completed in 1932. During our research into fonts of this period we discovered the font Granby, which was cut by foundry Stephenson, Blake & Co in 1930. Interestingly it is almost identical to Johnston, the font designed by Edward Johnston for the London Underground in 1915-16. So similar in fact, that why London Transport didn’t object to it being produced is not entirely clear, but it could be because Stephenson, Blake & Co. cut the original wooden masters for the Underground lettering.
What we did
Due to the weights available, we decided to use the New Johnston font, which is an updated version of Johnston, but still keeps some of the original quirky features, for example the diamond dot above the ‘i’, and diamond shaped comma, and full stop.
Using this font as the basis for the identity REG designed the title panel, the exhibition graphics and accompanying booklet for the exhibition.
The booklet needed carried the caption texts for the main paintings so needed to be easy to carry around and have low production costs. We decided to use very thin paper – inspired by ‘bible paper’ – and to allow the ‘show-through’ of text to reflect the honest nature of the paintings. Inspired by churches and the period we used bronze staples to add a interesting detail. All the graphics were produced using one colour throughout the exhibition, for this we chose an earthy dark brown inspired by the colours in the paintings.
Nine Elms on the Southbank are transforming the area around Battersea Power Station. Culture and creativity are at the heart of the change and the cultural strategy details how and where this is happening.
The brief was to communicate a high level of cultural ambition and the authentic cultural origins of the area; align the design with the Nine Elms brand but assert an emerging cultural aesthetic; and position the area as an attractive base for cultural organisations.
REG gathered a lot of information and content in the course of the design, carrying out picture research, historical delving, and fact-finding to create a cultural map. We interpreted the existing brand guidelines for Nine Elms (created by Saffron) to develop a distinct cultural aesthetic that complimented the corporate brand.
The design was inspired by many layers of Nine Elms history, and contemporary visual styles, as it’s a hub for modern art galleries. From this we generated a number of possible design ideas, and chose collage as a visual route for the design, creating collages for the cover and the page numbers. The main content of the pages was photography and text, so we carried the collage theme on by overlapping content with opaque triangles from the Nine Elms corporate identity.
We contributed to copywriting, generating the historical facts for the page numbers and the copy on the map page.
What we did
REG managed the print process, using a good quality cost-effective printer. We used copper staples in the binding to reflect the mix of the contemporary with traditional in the finish of the document.
The brochure arrived safely and it looks great.
Well done, good job.
Thank you Ruth for all your patience!
You’ve been a pleasure to work with.
Samantha Campbell, Nine Elms Marketing & Communications Manager
We designed the cultural strategy document for Nine Elms on the Southbank.
The brief was to develop the existing visual identity for Nine Elms on the Southbank (already designed by Saffron Consultants) into something that communicated culture as well as commerce.
We referred to the long and rich cultural history of the area, alongside the latest projects and developments.
Lovely flowers in the studio today to say thank you for our work, from UP Projects
REG have designed a new UP Projects leaflet promoting their 11 live projects.
The leaflet opens to showcase the Folkestone project, and inside all the projects are listed with an indication of where they are in relation to one another.
The design makes the most of UP Projects visual identity colour palette – the very unmissable Pantone Orange, along with the simple square graphic from their logo.
The UP Projects visual identity was one of REG’s earliest cultural identity design commissions, and aimed to communicate the open and unrestricted “gallery without walls” philosophy of UP Projects.