Harold Bennett

Arlo Parks on her new album, the significance of its artwork and the vulnerability of writing

Interview with Arlo Parks // @ Creative Boom
Even before releasing her latest album, Collapsed in Sunbeams, Hammersmith-based musician, song-writer, and poet Arlo Parks already had critical acclaim and an adoring fan base that found comfort and connection in the ethereal, warming and deeply visceral lyrics behind her songs. Photography by Alex Kurunis.
Read on Creative Boom

Is graphic design too trendy?

Featured article // @ It's Nice That
Whether it’s chrome lettering or outlined type, we’ve all heard someone say: “Ooh, that’s a bit trendy!” Here we question what’s wrong with that, what’s right about it too, and the unexpected significance design trends have. Illustrations by Elsa Mueller.

Anatomy of Creativity // Part One // Can Good Ideas Be Planned?

Feature Article Sponsored by Antalis // @ The Brand Identity
What is a good idea? Is it problem solving, or is it an apparition? Is it spontaneous, or is it grafted? Does it come as a result of rigorous planning, or from one’s own intuition? We’ve spoken to a variety of distinguished voices that are pushing contemporary graphic design, asking what their chosen approaches to ideation are, the role of research towards this endeavour and, simply, what makes a good idea?

Stone lettering and variable fonts: What can the future of typography learn from the past?

Feature Article // @ It's Nice That
In the pursuit of pixel-perfect typography, have we lost the origins of its artistry in place of efficiency? We talk to contemporary typographers as well as stone letterers who are keeping the origins of the discipline alive, asking what is lost and gained in the movement from physical to digital.

The Static, the Kinetic & the Variable: Typography’s Ever-Evolving Role in Brand Storytelling

Article for TYPONE #2 // @ Type01
Featuring Studio Moross, OMSE, Connor Campbell, Rifke Sadleir, Chaoqun Wang and Elias Hanzer

The Process Three – Introduction

Introduction // @ The Brand Identity
Introduction for The Brand Identity's The Process Three.

The A Papers #1: Process, Print & Pixels

Feature Article Sponsored by Antalis // @ The Brand Identity
What are the differences in processes when tackling something digital and something analogue? Both in creative decision-making and technical operations, the landscapes of both fields are very distinct at first glance, but perhaps their relationship is much more entangled.

A Necessary Aesthetic: the Role of Design and Typography in Activism

Article for TYPONE #1 // @ Type01
Featuring Ben Eli, Indiana Lawrence, Adapt, Anoushka Khandwala, Marco Oggian and Ciara LeRoy.

Anatomy of Creativity // Part Two // Do Good Ideas Have Requirements?

Feature Article Sponsored by Antalis // @ The Brand Identity
What are the requirements for creative forethought? Is there anything that’s necessary and what is detrimental? We’ve spoken with a plethora of insightful voices to grasp their perspective on what is needed for good ideas to happen; be it the more superfluous notion of being surrounded by inspiring objects of design or if the tools at one’s disposal have a more pivotal role then expected.

The A Papers #3: Publishing, Print & Purpose

Feature Article Sponsored by Antalis // @ The Brand Identity
Continuing our partnership with Antalis Creative Power, The A Paper explores the often neglected and undervalued topics within the contemporary graphic design scene. For part three, we look towards publishing, speaking with Counter-Print, magCulture and Draw Down Books to discuss what the future holds for the industry, and which publications are leading the way.

Anatomy of Creativity // Part Three // What is Design Without Good Ideas?

Feature Article Sponsored by Antalis // @ The Brand Identity
Within a world becoming faster and faster, woven amongst an ever-increasing demand for content, capital and convenience, there doesn’t seem to be an awful lot of time afforded to thinking – instead sidelined to the desire for engaging visuals that catch our attention amidst the plethora of dazzling competition. But is something that is simply eye-catching an example of ‘good’ design, or is it just shiny? Does design need a concept to fulfil this criteria or is the latter a concept in itself? In today’s context it’s time to ask whether ‘good’ ideas need to be conceptual or can be a solely aesthetic endeavour; and simply ask, what is a good idea?