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.
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.
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?
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.
Featuring Studio Moross, OMSE, Connor Campbell, Rifke Sadleir, Chaoqun Wang and Elias Hanzer
Introduction for The Brand Identity's The Process Three.
Featuring Ben Eli, Indiana Lawrence, Adapt, Anoushka Khandwala, Marco Oggian and Ciara LeRoy.
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.
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?