a.S.a.t.S.i.

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ISBN LEGAL INFO

a.S.a.t.S.i.a Something about the something inbetween

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Forward

Num initios nihitiur ratios es isi occum voluptas mintum quam fugiae. Obis dolupta spercil ignist dus et quiduntur molende evellecta culpa parum, consequat volupit voluptur, vendis ea dolenih illestiur? Diasinv eliquiscidel iscimi, occab in parupta quia consequos qui volupti onsequatur autem eiumquodia vel molorest eiumquia aut odis volorem ollestiatqui nimi, omniandae doluptur aped quibus rem endit, utemporios adi que porum fugiae nos di dundebis et lit intibus niste ducium conet fugiam quat. Ceperferum sum et laborio occus et iur? Qui ipsunt. Tem utatemporem int. Nem et imus ea veni torem rem ut est, sapis dolorei uscillenit, et essinvelique et quo volest et utem fugitatem adit, sus. Tem qui cum ea perro inum inum harcid quo tore si demperunti into optamust, eumene si rem inciatibus et la dit inullessita ni blabor adi il iumque rem simus. Os prehenis am volor rerferuntur aditem ernat eos dolentiis autem rae. Olore, es prat.Ditioreh enessunt licillu ptaquam, et prehendi consent rerferunt. Excesequi occupta dolectium volupta veles dolor sit aut facea vendam sandessitio test, cus dolori bea nis magnimp orestotas pore odios dolupta tiorum dipsus autatur? Enimet hilitat uribus inimolorpor acia pere velluptur aut ipsam dolesci psantur sernatio dis et occatio modi de sumquat. Quias eos posam coneceat od ute poriam unt, odis essi blaborerovid unt des mos expero blabo. Ximus aborrun tiorerae ipsum rem ex elescienimus pra provitis est, eum ipsam destempe necatur? Ma volupta tiatibusae plabor aciatur? Odi qui cuptian daeriamus mo idest volupti untinum as esciunt, comniatia quis pedis exceaque nobita consed magnis si dolupta quiatiunt reribearum quis et magnissed qui idignimint. Et int alitatqui ilit ommodicatus aut as rest laut odita dio omnitiam, nos simoluptias ium, tem cusda pro qui di teserfe risqui as alignatur andit alitati ssinull iquibus accatum in endae. Ma sitatiorem vendust alis eos modis millabor a doluptis eaquos am re provit at. Igentem quidipic te aspis sintur solest ut quam ut idebis aut eum quunt, quodipsus sit exerum velitib usdandam, utem lam incias eum ipictotatur mossi blandis dolorerferum seque volor reratios maio comnis eicid quiam et ea post rende sectem aut que cumquiam eate od mossuntionem quibea sequo officiliquae velecat rem ex eatecus modit repe si cum enia volut eos magnimaio. Itat

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CONTENTS JAN FEB MAR APR MAY

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Title.

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Source(s) Credit(s)

Date Accessed

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CHAPTER 1

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Tauba Aurerbach RGB Colorspace Atlas 2011. Digital offset print on paper, case bound book, airbrushed cloth cover and page edges. 8 x 8 x 8 inches each 20.3 20.3 x 20.3 cm. Binding co-designed by Daniel E. Kelm and Tauba Auerbach. The books were bound by Daniel E. Kelm assisted by Leah Hughes at the Wide Awake Garage.

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www.taubaauerbach.com

February 9th 2012

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Wear Your Favourite Net Artists. The brilliant thing about internet art is that its democratized. I mean, how many people have ever had the chance to spin Duchamps Bicycle Wheel until it became an interactive website? Thanks, Rafal Rozendaal. Now Sterling Crispins new curated t-shirt line, which launched this Monday, is taking the internet art out of the machine and into our closets. But unlike the free-for-all accessibility of net art, the collection features six original designsfrom some ofthe internets most esteemed artistscapped at just 10 pieces each. I wanted to provide a common platform for contemporary artists to experiment with and make physical what would otherwise be a digital form, said Crispin via Facebook this week. Its exciting to watch the ways digital art can be translated into physical forms and I think clothing is a fresh and fun take on limited edition prints. Designing clothes, or industrial objects, is something I think a lot of artists think about and I could see the need for this sort of platform for experimentation to exist. Theres technically no theme to this debut collection, though each shirt reflects a post-internet sensibility. Crispin says all the artists were given free range to create whatever they wanted. Rozendaals shirt,

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www.netstyl.es www.vicestyle.com

February 19th 2012

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Yes.

Mr Doob.

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www.yesstudio.co.uk

www.mrdoob.com

February 21st 2012

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Carsten Gth

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www.notimefortv.biz

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Graphic designers are ruining the web. Designers have turned webpages from simple sources of information into bloated showcases. What happens when you click on a weblink? Heres one answer: a request goes from your computer to a server identified by the URL of the desired link. The server then locates the webpage in its files and sends it back to your browser, which then displays it on your screen. Simple. Well, the process was indeed like that once a very long time ago. In the beginning, webpages were simple pages of text marked up with some tags that would enable a browser to display them correctly. But that meant that the browser, not the designer, controlled how a page would look to the user, and theres nothing that infuriates designers more than having someone (or something) determine the appearance of their work. So they embarked on a long, vigorous and ultimately successful campaign to exert the same kind of detailed control over the appearance of webpages as they did on their print counterparts right down to the last pixel. This had several consequences. Webpages began to look more attractive and, in some cases, became more user-friendly. They had pictures, video components, animations and colourful type in attractive fonts, and were easier on the eye than the staid, unimaginative pages of

the early web. They began to resemble, in fact, pages in print magazines. And in order to make this possible, webpages ceased to be static text-objects fetched from a file store; instead, the server assembled each page on the fly, collecting its various graphic and other components from their various locations, and dispatching the whole caboodle in a stream to your browser, which then assembled them for your delectation. All of which was nice and dandy. But there was a downside: webpages began to put on weight. Over the last decade, the size of web pages (measured in kilobytes) has more than septupled. From 2003 to 2011, the average web page grew from 93.7kB to over 679kB. You can see this for yourself by switching on the view status bar in your browser; this will tell you how many discrete items go into making up a page. Ive just looked at a few representative samples. The BBC News front page had 115 items; the online version of the Daily Mail had a whopping 344 and ITV.com had 116. Direct. gov had 71 while YouTube and Wikipedia, in contrast, came in much slimmer at 26 and 15 respectively. Whether you view this as a good thing or not depends on where you sit in the digital ecosystem. Aesthetes (and graphic design agencies) drool over the elegance of pages whose look and feel is determined

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John Naughton www.guardian.co.uk

February 19th 2012

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down to the last pixel. Engineers fume at the appalling waste of bandwidth involved in shipping 679kB of data to communicate perhaps 5kB of information. Photographers love the way their high-resolution images are now viewable on Flickr and Picasa. Futurists (and broadband suppliers) rejoice that this epidemic of obese webpages is driving a demand for faster (and more profitable) broadband contracts and point to the fact that communications bandwidth is increasing at a rate even faster than processing power. Personally, Im a minimalist: I value content more highly than aesthetics. The websites and pages that I like tend to be as underdesigned as they are cognitively loaded. Take for example, the home page of Peter Norvig, who is Googles director of research. In design terms it would make any graphic designer reach for the sickbag. And yet its highly functional, loads in a flash and contains tons of wonderful stuff such as his memorable demolition of the PowerPoint mentality in which he imagines how Abraham Lincolns Gettysburg Address would look as a presentation. Or his hilarious spoof of Einsteins annual performance review for 1905, the year in which he published the five papers that changes physics for ever. (Einstein, you may recall, was a humble patent clerk in Berne at the time.)

But in addition to these plums, Norvigs site is full of links to fantastically useful resources such as the open source code that accompanies his textbooks. And its as easy to navigate as anything produced by a web-design agency for 100,000 plus an annual service contract. Sites like his remind one that the web is not just about shopping or LOLcats but is the most wonderful storehouse of information and knowledge that humanity has ever possessed. Think of it as the Library of Alexandria on steroids. And remember that its as accessible to someone in Africa on the end of a flaky internet connection as it is to a Virgin subscriber in Notting Hill who gets 50MB per second on a good day.

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John Naughton www.guardian.co.uk

February 19th 2012

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The Electric Information Age Book. McLuhan/Agel/ Fiore and the Experimental Paperback. Adam Michaels, Jeffrey T. Schnapp. ISBN 9781616890346. 4.25 x 7 inches (10.8 x 17.8 cm), Paperback . 240 pages, 50 color illustrations, 150 b/w illustrations. Rights: World; Carton qty: 0; (405.0) The Electric Information Age Book explores the nine-year window of mass-market publishing in the sixties and seventies when formerly backstage players designers, graphic artists, editorsstepped into the spotlight to produce a series of exceptional books. Aimed squarely at the young media-savvy consumers of the Electronic Information Age, these small, inexpensive paperbacks aimed to bring the ideas of contemporary thinkers like Marshall McLuhan, R. Buckminster Fuller, Herman Kahn, and Carl Sagan to the masses. Graphic designers such as Quentin Fiore (The Medium is the Massage, 1967) employed a variety of radical techniquesverbal visual collages and other typographic pyrotechnicsthat were as important to the content as the text. The Electric Information Age Book is the first book-length history of this brief yet highly influential publishing phenomenon. Jeffrey T. Schnapp holds the Pierotti Chair in Italian Literature at Stanford, where he founded the Stanford

Humanities Lab in 2000 with the aim of creating a transdisciplinary platform for testing out future scenarios for the arts and humanities in a post-print world. Since 2009, he has served as a fellow at the Berkman Center for Internet and Society, and visiting professor in Comparative Literature and at the Graduate School of Design at Harvard University.

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www.papress.com

April 1st 2012

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Qualite Graphique Garantie.

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www.qualitegraphiquegarantie.org

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iOS 86.

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www.work.repponen.com

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Aurle Sack

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www.a--s.ch

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The Book on Books on Artists Books. The Everyday Press. The Book on Books on Artists Books is a bibliography of books, pamphlets and catalogues on artists books. It takes stock of a wide variety of publications on artists books since the early 1970s to draw attention to the kind of documentary trace of distribution, circulation and reception they represent. It aims to be a source book of exhibition catalogues, collection catalogues, monographs, dealership catalogues and other lists published to inform, promote, describe, show, distribute and circulate artists books.

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www.mottodistribution.com

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The street views Google wasnt expecting you to see.

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www.guardian.co.uk

February 20th 2012

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In October 2011 148 posts, 904 comments and over 2.5m visits later Design Assembly turned 3. 3 archives over 100 published articles, comments included, as well as showcasing new and exclusive words and images from some incredible people. 100% of the profits from the sale of this publication will be shared proportionately between 3 charities with a combined global reach: Cancer Research UK United Kingdom LIVESTRONG North America WCRF International Rest of world The total amount raised will be distributed proportionately between these 3 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. According to Cancer Research UK, 1-in-3 of us will be diagnosed with some form of cancer in our lifetime. Can design make a difference?

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www.designassembly.org

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Emilio Gomariz exploits the Mac OS X desktop to create beautiful performances from the various commands and functions which form everyday user experience. From the meticulous arrangement of colour-coded folders, to setting up a sequence of maximising windows, Gomarizs art looks at first glance to be the product of time spent simply idling away at the computer. Spectrum Cube. This may well have informed his initial experiments (his first Mac piece, 2009s Folder Type, was created using 22,655 separate items) but a look at some of his more recent work suggests he takes his desktop organisation very seriously indeed. And just with performance art, many of these pieces only exist when Gomariz sets them off, recording the results as screen captures. Folder Type. The Spanish born artist, who trained as a technical engineer in industrial design before experimenting with digital media, also runs the digital art blog, Triangulation. He has worked in video and digital painting, and created projects for clients such as Django Django and the Fach & Asendorf Gallery (using another favourite tool of his: the animated gif). But in 2009 he started using the Mac OS X

interface to create interesting animations. Folder Type came from using the colour feature to organise folders, says Gomariz. I started toying with things creating lots of folders, putting them in sub-folders, until Id created a huge landscape of them which I then coloured and animated using the arrow keys and the scrollbar along the bottom. Despite the complexity of the process, Gomariz says his Mac pieces dont take that long to create, the hours are put into seeing how different files can be manipulated over the desktop. In the beginning I work on sketches, using few files as blanks, he says, to just look at how the files act and move over the desktop. If I like it, then I extend it by adding more files and colours. But behind each different piece, there are quite a few hours of experimenting and looking for the final composition. I always work on them manually, too by that I mean I dont use code to configure them. Spectrum Horizont. The image at the top of this post is one of those experiments which was then developed into his new Spectrum series; Cube and Horizont are shown above. These pieces in particular rely on the exact placement of several ready made elements. There is of course a risk that the whole thing can come tumbling

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www.creativereview.co.uk

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down if he clicks in the wrong place. With the Spectrum series I couldnt save the configuration of how the files were organised on the desktop, he says, but I like that because theyre then unique manifestations that lived on my computer. If I wanted to see something similar I would have to create it again. It all requires a steady hand and mouse. For Spectrum Cube, I placed around 75 different Text Edit files with exactly the same distance between them again, manually but I think this perfection is important, in this case, to get the great visual effect of the cube. 114.psd Type. In some of the Mac-based pieces like Spectrum Horizont and 114.psd Type, shown above, the dock is crammed with files ready to be maximised. This functionality has, for Gomariz, a distinctly aesthetic appeal. I have to be careful with the rhythm when taking out the files off the dock, I often repeat the final screen capture until get a nice flow. Sometimes is difficult to click the files on the dock because it gets really small when is full of files. For example, I have one screenshot with 1,030 files on the dock. It is quite ridiculous, but funny, too. The Macs basic default features [are] the first

thing I see when I switch on the computer, so they are the first thing which inspire me to do something with. They offer sensual and attractive movements like the Genie Effect to minimize and maximize the windows to and from the dock, and there are a whole world of keyboard shortcuts which let me control all these options as a game; a very colourful palette for making folders, etc. So I use OS X both as a tool and as an aesthetic as well. Ai Professional Workspace. Messing with the standard desktop applications to such an extent isnt without its risks. A while ago, I had the biggest error/damage alert, says Gomariz. I was experimenting with Text Edit in another way, copying and pasting thousands of huge, coloured special characters at the same time, and the software became blocked permanently. I couldnt use it anymore. I had to reinstall the OS X to get it back. More of Gomarizs projects can be seen at emiliogomariz.net and cmdshift3.net. His work appears as part of Astral Projection Abduction Fantasy at the Monster Truck Gallery in Dublin. The show opens today and runs for a month until March 23. More details on the show are here.

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http://sizestores.co.uk/hq/2012/03/02/perspective-typography-brightens-brazilian-suburb/ Perspective typography brightens Brazilian suburb 02 March 2012 - 19:06 pm | fresh news The creative collective of Boa Mistura made a poor suburb of Sao Paulo, Brazil a little more colourful. This has to be one of the most inspiring things we have seen in long time Beauty Pride

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http://www.itsnicethat.com/articles/words-as-images-review Words as Images review Posted by Maya Davies, Thursday 16 February 2012 We were buzzing last Thursday after another evening of talks for our Words, Words Words programme at Selfridges Ultralounge. Examining the relationship between words and images in various contexts were designer and founder of Typography Summer School Fraser Muggeridge, illustrator Sara Fanelli and Andy Altman from award-winning design agency Why Not Associates. Fraser Muggeridge, donning some very dapper clobber, took us on a whistle stop tour of how well-executed typography can transcend words to become powerful images. By using the space of the page inventively, he demonstrated how writers and designers can create suitably considered visual compositions. Referencing concrete poetry, Fraser cited Bob Cobbings acclaimed Square Poem as how to do the aforementioned with aplomb. He showed one of his own projects exploring the possibilities of language without text. By replacing words with readable images, he created a new language as visual code, which he tested out on us. To finish off he discussed his recent experimental typeface project with Giorgio Sadotti, exploring the notion of transparency. Constructed by layering letters within letters, you glimpsed both elements and their new sculptural form. They also took this further with embedding pictures within letters a true interplay between word and image. The wonderful Sara Fanelli offered another take on the theme. As an illustrator she often faces the challenge of encapsulating and condensing a whole book or concept into a visual, using her book Sometimes I think, Sometimes I am. It was great hearing her talk with such passion about the research and background preparation she carried out. For anyone that hasnt flicked through it, I highly recommend having a read its a rich, beautifully-crafted collection of writing and illustrations broken up into thematic chapters such as Devils and Angels, love, colour, mythology and the absurd. Its various sections are peppered with big ideas and celebrated quotations from notable historical and philosophical figures from Descartes to Calvino, translated through Fanellis imaginative drawings. One of the favourites (circulating on Twitter) was Alan Fletchers frank but romantic statement from The Art of Looking Sideways: The person you love is 72.8% water.

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http://www.itsnicethat.com/articles/fraser-muggeridge Fraser Muggeridge Posted by Bryony Quinn, Monday 12 December 2011 The work of Fraser Muggeridge Studio (founded by Fraser and completed by Sarah Newitt and Stephen Barrett) is an output of largely artist, gallery, critically aesthetic content-driven publications and printed matter. With each project is an allowance for images and text to sustain their own intent and impact the sine qua non to the studios design, not style. Fraser Muggeridge is also an educator and founder of the Typography Summer School, and this week he will be bringing five examples of creative stimulus to our last guest post slot of 2011.

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17 April 201 http://phonearts.net/ Phone Arts is an International collaborative project experimenting using only the mobile phone as the medium to create unique compositions. They explore the boundaries of the phone to create graphic illustrations and designs.

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http://www.laaaarge.com/

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http://davidliebermann.de/

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http://wtfqrcodes.com/ Tattoo your children with QR Codes. The end is fucking nigh. April 13, 2012 Targeting the one guy who has both a QR code app and a pair of 3D glasses handy. April 13, 2012 Salvation awaits those who scan this code, provided they bring a ladder and its not too windy. March 24, 2012 On the cutting edge of death. March 24, 2012 March 22, 2012 Nah, this code actually makes perfect sense. Its advertising life insurance for window washers. March 20, 2012 March 08, 2012 Dog March 07, 2012 Mind The Gap

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http://www.qrdresscode.com Dans une exploitation morbihanaise, un leveur uitlise des QR Code pour les appliquer ... sur ses vaches ! Reportage de Plurielle Productions pour An Oriant TV sur une ide de www.qrdresscode.com http://www.youtube.com/watch?v=3QgFAWFFZqA&feature=youtu.be

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http://www.techdirt.com/blog/wireless/articles/20120307/06130018010/ qr-codes-ugly-overused-doomed.shtml?utm_source=dlvr.it&utm_ medium=twitter QR Codes: Ugly, Overused and Doomed from the scan-this-banana dept Ive never understood the hype about QR codes. They appeared one day, and then suddenly every advertiser made them a priority, plastering them all over everything in print. It has always seemed like undue obsession with something that, ultimately, is not that useful to very many people -- and thats assuming most people even know what they are. I was pleased to discover that Im not the only one: the Guardian has set up a Tumblr called WTF QR CODES to catalog the many bizarre and inappropriate uses of the technology: Most people look at a QR code and see robot barf , but marketers seem to think they are a must-have technology for their advertising campaigns. In their minds, eager consumers wander around with their smartphones, scanning square codes wherever they appear. As a result, the codes appear just about everywhere, and often in some really absurd places. The examples range from the fairly mundane (QR codes in the subway, where there is no data reception and where they are often located on the inaccessible side of the tracks) to the completely outlandish and even dangerous (huge QR codes towed behind airplanes, or printed on highway-side billboards). Theres one thing the article doesnt mention that I think is an important point: even if QR codes were popular, they would be a doomed transitional technology no matter how you slice it. Image recognition technology has been progressing rapidly and is already being used in products like Google Goggles, which means visual machine languages are going to be unnecessary. The tech isnt perfect yet, but its already at the point that smartphones are capable of recognizing ads based on color, configuration and other indicators. As visual search becomes more common, consumers are going to get used to the idea that they can snap a photo of anything and find related information onlineand the QR code will be officially obsolete (at least as a marketing tool). Until then, I guess advertisers will keep slapping them on everything from bananas to condoms. by Leigh Beadon Fri, Mar 9th 2012 8:51am

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http://www.thefoxisblack.com/2012/03/08/ruslan-khasanovs-pixel-distortiontypography/ Ruslan Khasanov has become quite a popular guy lately. Ive seen his work around quite a bit, mostly his liquid calligraphy project, but I think this pixel distortion typography is way more cool. You know how you could see the RGB pixels in old televisions? Imagine that but with a refractive layer of a watery substance on top, spelling out letters. Thats what this project is, and it looks frigging awesome. Its cool because the alphabet from afar seems nearly greyscale, but once you get closer or change your perspective the letters become almost neon. Really spectacular work.

http://www.itsnicethat.com/articles/ruslan-khasanov Ruslan Khasanov is doing wonderful things with type. Like Pixel Distortion (pictured) and Liquid Calligraphy, projects that use experimental physical filters to push legibility in the nicest possible way. By using simple practical devices, Ruslan can create intriguing visuals that work right up close with all the incidental detail, delighting in the way light or water affects the individual forms yet, as a whole, it is a fully applicable alphabet. www.ruskhasanov.com

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http://www.bbc.co.uk/news/technology-17339512 12 March 2012 Last updated at 18:00 Share this pageEmailPrint 2.1K ShareFacebookTwitter Playing pop music via paper posters with conductive ink The Listening Post is a paper poster that plays song clips via printed electronics Continue reading the main story Related Stories Spider silk violin strings made Silver pen can draw circuits 3D DIY chocolate printer debuts Paper posters that play music via printed circuits made with conductive ink have been unveiled. The prototype Listening Post poster is a guide to bands performing locally. The interactive poster plays a short clip of a bands music when a thumbnail image is pressed. Tickets can also be booked via the poster. The low cost of printing mean anything that uses paper or card could soon be much more interactive, said the posters inventors. It is one of several paper apps that have been developed by a consortium of British scientists, musicians and researchers being demonstrated at the South By Southwest Show in Austin, Texas. Low cost Peter Thomas, head of the Liverpool-based Uniform agency that helped coordinate the posters creation, said it was designed to explore novel methods of interaction. He said it could be a way to get round the modern problem of infobesity. People are saturated with information all the time, especially when it comes to music, this is a way to cut through all of that, he said. Were trying to recapture some of the tactile experience you got with vinyl records.

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Theres a really different reaction from users to physical media as opposed to

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http://www.poster-tribune.ch/?page_id=16 ABOUT Poster tribune is a bi-anual newspaper devoted to posters. It contains 12 pages of illustrated articles and 3 posters (65 cm x 96 cm). Posters are equally artistic creations, communication tools and witnesses to social, commercial and artistic trends from specific periods. Poster Tribune examines such posters and breathes new life into these short-lived street exhibitions. Through these articles, Poster Tribune promotes the international and Swiss contemporary graphic scene, and reports on the posters history and latest news. Poster tribune is supported by the Fond Cantonal dArt Contemporain de lEtat de Genve (FCAC). Poster tribune est un journal semestriel consacr laffiche, offrant 12 pages darticles illustrs et 3 affiches format 65 cm x 96 cm. Les affiches sont la fois crations artistiques, supports de communication et tmoins de courants sociaux, commerciaux et artistiques, des priodes prcises. Poster Tribune se penche sur ces affiches et redonne vie ces supports phmres de la rue. A travers un thme conducteur, Poster fait la promotion de la scne graphique contemporaine suisse et internationale et informe sur lhistoire et lactualit de laffiche. Poster Tribune bnficie du soutien du Fond Cantonal dArt Contemporain de lEtat de Genve (FCAC).

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http://brendancsmith.tumblr.com/ Untitled. Oil on canvas. 48x60 2011 // 7 months ago // Reblog // open this post on a new window>> Suspended. Oil on plexiglas. 32x32 2011 // 8 months ago // Reblog // open this post on a new window>> Push/Pull 2. Acrylic on canvas. 14x12 2011 // 8 months ago // Reblog // open this post on a new window>>

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http://en.le-bal.com/fr/mh/discussion-on-the-book-books-on-books/ DISCUSSION ON THE BOOK BOOKS ON BOOKS Le mercredi 04 avril 2012 at 8 p.m. WITH CHRISTOPHE DAVIET-THERY, CHRISTOPH SCHIFFERLI, JRME SAINT-LOUBERT BI ET YANN SRANDOUR In the editorial project Books on Books, that united Christophe Daviet-Thery (editor / librarian specialised in artist editions), Christoph Schifferli (photographs and artist books collector), Jrme Saint-Loubert Bi (artist and graphic designer) and Yann Srandour (artist), everyones role has been redistributed, the artists appearing to be passionate collectors, the collector taking the role of the curator, the graphic designer the role of the author and photographer, etc. The result is a book that blurs the limits defined by the usual categories of exhibition catalogues, artist books or photograph books. Starting from this common experience, this intervention will take an interest in the question of the representation of the book by the book, throughout very different examples, chosen among the contemporary production or the history of the artist book, photograph book or graphic design, leaning particularly on the book Latin-American books of photographs.

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http://www.geek.com/articles/geek-cetera/artist-recreates-popular-pantonecolors-as-fruit-tarts-2012039/ Artist recreates popular Pantone colors as fruit tarts Mar. 9, 2012 (7:28 am) By: Ray Walters French food designer Emilie de Griottes has brought new meaning to the phrase looks good enough to eat with with her latest culinary creation. Pictured above, de Griottes used her cooking abilities to recreate nine popular Pantone colors as fruit tarts. She brought the colors in question to life using different fruits and candies, with the results being something that has made my mouth begin to water. Created for a spread in Fricote magazine, de Griottes has successfully combined the world of graphic design with the culinary arts. To create her edible works of art, de Griottes first baked a traditional tart pastry base, icing it white to create the background of the Pantone swatch she was emulating. From there she made use of both texture and food components to make each tart pop (see what I did there?). For example, Pantone 222 C in the top left corner of the picture below is a barney-esque purple/pink combination. The foodstuff that de Griottes decided to use was a thick buttercream frosting that was tinted with food coloring to match. For Pantone 715 C located in the very middle below, she used a combination of lemons and their peels to get the desired hue. You can almost smell the scent of fresh lemonade as you look at the picture. If you want to recreate these tarts, de Griottes has included the recipes in the French magazine Fricote mentioned above. Unfortunately, you will need to be able to read French because, well, its written in the romantic language. If you need help translating, I would be glad to oblige as long as I get to eat one of each! -http://www.designboom.com/weblog/cat/10/view/19688/pantone-tarts-byemilie-de-griottes.html for a special feature in french culinary magazine fricote, french food designer emilie de griottes developed dessert tarts that recreate pantone colour swatches. berries, carrots, lemon, candies, and other foods are arranged upon a tart base, whose bottom is iced in white and marked with the pantone colour represented.

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http://www.culturelabel.com/the-crash-padtm.html Inventory Studio The Crash Pad Stress Cushion The Crash Pad is a super soft stress cushion for the Mac user. Sometimes referred to as 'the rainbow wheel of death' this version of the screen icon doubles up as a desk pillow for any impromtu naps. Never Forget: +S. Two major industrial hazards for hard working creatives are: 1 Spending far too much time in front of a computer when you could be napping on the sofa. 2 Computers crashing and losing all that hard work. Punch/sleep on The Crash Pad and not your computer, as we know we secretly love them and would never do anything to hurt them. Designed and manufactured in the UK. Digitally printed in full colour, with duck feather pillow. Approx size when filled: 38cm x 38cm x 8cm

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http://nomansanisland.info/

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http://www.bibliothequedesign.com/projects/branding/ollo/ Brand creation including strategy, naming and visual identity for a new telecoms brand providing high-speed internet access to emerging markets. The Ollo concept is simple. A single line of communication that provides access to the web in communities where online demand sits alongside limited infrastructure. Our brief was to develop a brand experience that would differentiate the new product within the saturated telecoms market. Following thorough research and analysis of the competitive landscape, we formulated the strategic position of new possibilities for a new audience. This informed the brand name, tone of voice, logotype and subsequent visual language. The logo is the first to exploit the new multi-touch hardware of smart phones and tablets. Custom software allows for interactive manipulation of the logo to become a creative tool in building the visual language. Playing with the interactive logo allows the designer to create an infinite number of brand-orientated digital assets that can be integrated into the brand. The Ollo brand is currently being soft-launched into the first of its markets and it will be rolled out over a further 15 countries in the near future. Interactive Development in conjunction with Field and The Workers.

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http://www.uniteditions.com/shop/kwadraat-bladen Kwadraat Bladen A series of graphic experiments 195574 Essay: Dingenus van de Vrie Foreword: Wim Crouwel Editors: Adrian Shaughnessy and Tony Brook Unit 06 Kwadraat-Bladen was the brainchild of graphic designer Pieter Brattinga (19312004). He set out to prove that his familys printing firm was the best in the Netherlands by publishing a journal that would surprise its readers with its radical content, unusual format, and state-of-the-art production techniques. Brattinga was a visionary: he was amongst the first to encourage designers to enter the print works and to collaborate with printers. He invited many of the best Dutch artists and designers to produce an edition of Kwadraat-Bladen that pushed design and print to the outer limits. Artists and designers who designed editions of Kwadraat-Bladen included: Wim Crouwel Anthon Beeke Willem Sandberg Jan Bons Otto Treuman Dieter Roth Unit Editions is delighted to publish the first English language book devoted to this revolutionary publishing venture, which mixed art and design and used every known print and print production technique. The book has a scholarly essay by Dutch design historian Dingenus van de Vrie and a foreword by Wim Crouwel. -144 Pages Size: 152 x 230mm Format: Paperback

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http://www.editions-b42.com/books/pour_une_critique_du_design_graphique/ Pour une Critique du Design Graphique Catherine de Smet Sorry, this book is available only in French. You can find some texts written by Catherine de Smet in Back Cover 2 and in Graphic Design: History in the Writing (19832011) published by Occasional papers. date April 2012 language French designer deValence format 165mm 235mm pages 216 pages ISBN 9782917855218 themes Graphic designEssay

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http://camberwellpress.org/entry/events/into-the-fold-day-1 Monday, 27 February 2012 The first day of Into the Fold saw the fruits of an open discussion between Department 21, the construction of gigantic Word Sculptures by Philip Li and a talk with Brave New Alps about their Construction Site project.

Philip Li is a recent graduate from Camberwell College of Arts (2009) and has been fusing together performance, sculpture, music, fashion, ceramics and styling into a live and uniquely styled vision. Li recently completed an artist-inresidence position at Camberwell. He was asked by the Press to come and make Word Sculptures in the gallery space all day, and working with Sculpture, 3D and Photography students, they created gigantic letterforms out of card. A discussion between Sophie Demay, Bethany Wells, Bianca Elzenbaumer and Robert Maslin of Department 21 took place in the Camberwell Space in the afternoon. Students, alumni, staff and the Press team were invited to talk through some of the reasonings behind the project. Department 21 was, at the beginning, a temporary, physical space established by students as an experiment in interdisciplinary practice, in the vacant Painting studios of the Royal College of Art. It was a project where designers, artists and architects can meet, collaborate and share working space beyond the institutional boundaries of their own disciplines. Read more about Department 21 here. Bianca Elzenbaumer from Brave New Alps came to talk about their Construction Site project. The Construction Site for Non-Affirmative Practice is a group of young Italian designers that came together in Autumn 2011 during thier collectivized artists residency at Careof, a non profit art space in Milan. Since then, the group has developed its own dynamics and together study and experiment with alternative criteria with which to act in the world and, in particular, the world of design.

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http://camberwellpress.org/entry/events/into-the-fold-day-two Wednesday, 29 February 2012 Posted by Rosie Eveleigh Category Events 0 comment The second day of Into the Fold brought more wealth of content and discussion. It saw Phil Baines give a talk about Grotesque typefaces and then a letterpress demonstration, Sam Winston running an interactive drawing project and Lynda Brockbank discussing the 99 Words project. British designer, typographer, writer and professor Phil Baines was in early in the morning, demonstrating and setting type downstairs in the Letterpress studio at Camberwell. The impetus of his visit was borne from the Flaxman SemiBold typeface, designed by Edward Wright, and Camberwell being the only place holding this typeface in its letterpress collection. He worked on a poster of a quote from Re-make/Re-model by Michael Bracewell - using all Grotesque variants: Grot 19, Elongated Sans, Headline Bold and of course, Flaxman SemiBold.

The restrictions of spacing, the body and how type goes together become so blatantly obvious with letterpress that it helps to explain structures and the way type is constructed. If youre interested in type design its really good, whatever the elasticity of the invisible em square. We always get our first-year students to draw letters with two pencils taped together. Its incredible nowadays how many kids have not been taught how to hold a pencil properly to the extent that they cant draw. Not just letters; they cant draw, at all, because they cant handle a pencil. Staggering. - Quote from an Eye interview, here.

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Sam Winston and Kate Smallshaws This Is Not a Brief saw a mixed-discipline group of students leaving behind their pre-conceptions of what they do and what they expect a brief to ask of them, to complete a set of tasks surrounding the theme of finite creativity. The first scenario gave them twelve months left as creatives and they had ten minutes to create a list of everything they would do in a year their answers spanned world travel, publishing tomes and completing long pined for projects about cats. Scenario two offered up five urgent minutes to decipher their last-make with only 31 days left to create, and the fi-

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http://camberwellpress.org/entry/events/into-the-fold-day-3 Wednesday, 29 February 2012 Posted by Rosie Eveleigh Category Events 0 comment Day three was small in numbers, but gigantic in content. We spent the morning in self-assessment, evaluation, and the afternoon in a skype discussion with Michle Champagne of That New Design Smell, in which she delivered a talk all the way from Toronto, beaming into the studio in Camberwell. She has kindly provided us with a summary of that talk, after the jump. Five Smelly Things The Design Press Could Mull Over, Even If For Just A Moment The first smelly thing is that design publishing is a mixed bag of goodies. Its not thriving or failing, good or bad, black or white. Its grey. Sometimes light grey, sometimes dark grey. But always grey. Consider how some view design publishing on computers and the internet. Some are optimistic and praise the holy wonders of online publishing. Woo hoo! Others are pessimistic and condemn it altogether. Yuck! Yet both are blind-sighted. Design publishing is going through both a renaissance and a nervous breakdown, all at the same time. That is the first smelly thing.

The second smelly thing is that success and failure in design publishing is never evenly distributed. Publications can benefit some people and harm others. Consider the tablet magazine. Where tablets have taken hold, people find them a blessing. Not lease those who sought gratifying careers in online publishing, including executives, interface designers, programmers, media planners, editors and writers. They think tablets are super awesome. Now consider the career of lumberjacks, paper salesmen, printers and print designers. They might have tablets themselves, but know that tablets are terribly awful for their careers down the line. Who wins and who loses? Consider the wins and loses on the internet. A person can shop online twenty-four hours a day, easily bookmark thousands of findings and vote at home while eating BBQ chicken and watching the game. But theyre also more easily traced and located by companies and governments keeping track of their internet crumbs. The third smelly thing is the powerful prejudices embedded in every design publication. Prejudices are often abstract and hidden, but have real-world effects. Publications predispose us to favor and value certain agendas and per-

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http://camberwellpress.org/entry/events/into-the-fold-day-4 Thursday, 01 March 2012 Posted by Natalie Kay-Thatcher Category Events 0 comment Visualising Literature Still life by Zeel It was a day of inside jobs as we saw two inner Press projects carried out in full steam. The Oxford School Trip was organised by Press team members Jake Hopwood, Alex Hough, Freddy Williams and BA Graphic Design third year Charlie Abbott. The Visualising Literature drawing workshop by Press members/Illustrators Billie Muraben and Rosie Eveleigh. As well as these lively activities, Hato Press installed their mobile library in the gallery space and indulged us with a live twitter chat.

Hatos Mobile Library Started by Ken Kirton, Jackson Lam and Louise Naunton Morgan, Hato Press is a speciality printing and publishing house based in London using both screenprinting and Risograph processes. For the Risograph prints they use soy based inks and only recycled paper, inkeeping with their economic and sustainable attitude. Into the Fold is the temporary housing space for their mobile library, featuring their most recent risographed publications. We also conducted a brief twitter interview which you can read live and dive into. In just 140 characters a go, they describe Risograph production as niche and highly economical and referenced William Morris Kelmscott Press as early inspiration for their formation.

The School Trip project took 20 first year graphic design students to Oxford for the Day. The aim of the project was to encourage the students to explore a new place with a critical designers eye, and so they were encouraged to get lost, wander and collect, document and record anything that caught their attention. On day two, the students were asked to review and edit their research to communicate a coherent and specific aspect about the site. Using only the content collected in Oxford to produce A1 posters, the students explored how limited content and the language of posters (heirarchies, layout, scale and type) can be manipulated to communicate a message. Press designer Alex Hough mid weave

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http://camberwellpress.org/entry/events/into-the-fold-day-5 Monday, 05 March 2012 Posted by Rosie Eveleigh Category Events 0 comment The last day of the working week dedicated the whole day to Calverts, a co-operative communications design and printing company, based in Bethnal Green. In the morning, Sion Whellens delivered a Fold, Stitch and Trim talk, and then later in the afternoon, a Collaboration and Co-operation workshop. He gave practical, honest advice about the printing process, which hes kindly summed up for us into seven points, after the jump. Make Print Work At first glance, different estimates for a printing project may seem to describe the same job, in a clear enough way. Dig a little deeper, though, and youll often find big differences in quality of service, materials, finish, after sales support and potential extra costs. If you dont know the printers youre talking to, here are seven questions you can usefully ask in response to receiving a printing quote. Not only will they help you avoid common pitfalls, but the quality of answers you get will tell you a lot about the people youre potentially going to entrust with your clients project and your own reputation as a print manager.

1. Artwork Will the printer give you free, expert advice and support on setting up your files correctly? Many printers lack professionalism in this area, causing frustration and delay. They should be able to accept print artwork in the most recent versions of all the usual software packages, such as Creative Suite and Quark, as well as older versions. By all means supply a PDF as a visual check - many designers use PDF as a substitute for a hard copy dummy - but PDF is not foolproof, so you should also supply native files with any linked images, screen and printer fonts. A printer who balks at this may be worth avoiding. 2. Repro Between giving a printer artwork and receiving a proof, there is the crucial stage of repro. Will the printer routinely flightcheck your artwork before giving you a proof, to make sure that all files, fonts and images are present, and that what youve given them corresponds to what theyve quoted for? Will their repro department colour profile your job appropriately for the paper stock or substrate

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http://camberwellpress.org/entry/events/into-the-fold-day-6 Mid: Natalie Kay-Thatchers key to the different symbols in the diagrams. Bottom: Stephen Fowlers Rubber Stamp Workshop Stephen Fowlers artists books have been exhibited across the world and are housed in national collections, such as The Victoria and Albert Museum, the Tate Gallery, Leeds University and the University of the West of England. He has exhibited his collections, drawings and prints in Tate Modern, Fine Art Society, Beaconsfield, Kalied Editions and White Columns in New York. He runs printmaking and bookbinding workshops and teaches drawing at Kingston University, University of the Creative Arts and Oxford and Cherwell Valley College. Stephens Rubber beer matts We asked him to come and hold one of his famous travelling rubber stamp workshops and he surpassed all expectations as he not only taught the rubber stamp printing method, but collated and printed an edition of 15 Into the Fold rubber stamp books for each contributor to take home.

Top: Some of Stephens favourite books for our library. Below: Stephen giving the talk and editioning the books with rubber stamp Into the Fold covers.

Top: Grace Helmer. Mid: Rosie Eveleigh. Bottom: Mr.Smiths Letterpress Workshop

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http://camberwellpress.org/entry/events/into-the-fold-day-seven Wednesday, 07 March 2012 Posted by Rosie Eveleigh Category Events 0 comment Day 7 consisted of two parallel projects running all day: upstairs Robert Sollis of Europa ran a workshop with Positive Futures, and downstairs ico design worked with James in the Letterpress studio.

Positive Futures is the national youth crime prevention programme. Funded by the Home Office, the programme targets and supports 10-19 year olds to help them avoid becoming drawn into crime or alcohol misuse, and helps them in moving forward with their lives. Via the British Council, Europa were asked to refresh their current brand identity - to make it speak more to the young people the programme targets. Robert Sollis ran a workshop as a primer for the design work, and asked Positive Futures and 10 of their participants to come in and work through and present their own ideas about what the organisation means to them. The rationale being that the visual dialogue between designer and user(s) of the logo is richer than a verbal one, and when the logo is completed (in late March), when they look at the companys identity, they will see a part themselves in it.

In the morning, Robert asked the participants to brainstorm words beginning with each letter of Positive Futures, resulting in a compilation of words and phrases which they associated with the programme, which then formed the basis of an exercise in type design. Using the opposite side of the paper, with the leters printed in the reverse, the participants drew on and around the letters using the words that they had come up previously to inspire their own designs.

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In the afternoon, after a short talk about pictograms, everyone worked through

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http://camberwellpress.org/entry/events/into-the-fold-day-8 A screengrab from Fraser Muggeridges film screening. Trailer Truths III, Erica Scourti (2004) Day 8 focused on the broader context of graphic design, its field of inspiration, and application. Merrell Publishers delivered a talk on the process of publishing, from decision to reality, Rick Poynor let us in to the surreal world that informs his practice and Fraser Muggeridge selected a series of films that encapsulated his opinion of film as an essential source of content in design. Merrell Publishers is a small, independent publishing company specialising in books on art, architecture, photography and design. Nicola Bailey, Creative Director, delivered a talk on Wednesday morning which focused on the making of one of their spring 2012 titles Type Matters!. Nicola discussed the development of the book, due to be published in April, from its very inception through to design choices, printing practicalities, proofing and organisation. A working spread from Type Matters!

Later on in the day, Rick Poynor delivered a talk called Uncanny: Surrealism and the Graphic Image. Rick Poynor is a writer, critic, lecturer and curator, specialising in design, media, photography and visual culture. He founded Eye magazine and edited it between 1990 to 1997, co-founded the Design Observer and has taught at the RCA and the Jan van Eyck Academy. For Into the Fold, he delivered a talk about Graphic Design and Surrealism, based around an exhibition he curated called Uncanny: Surrealism and Graphic Design, the first wideranging overview of this subject, which ran at the Moravian Gallery in Brno, Czech Republic and Kunsthal, the Netherlands between 2010 and 2011. The first book Rick Poynor bought on Surrealism, which has been a constant source of inspiration since. Michle Champagne, with whom we had a Skype conversation with on day three, has interviewed Rick Poynor, for Into the Fold, appearing below. For those wishing to read more about Ricks Surrealism talk, see here, here or here. Michle Champagne: The good news is design publishing seems to be on everybodys lips. The bad news is design publishing is either claimed as brilliantly thriving or utterly failing. In an interview with Design Bureau from 2010, The New York Times design critic Alice Rawsthorn claimed: The current condi-

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http://camberwellpress.org/entry/events/into-the-fold-day-9 Monday, 12 March 2012 Posted by Billie Muraben Category Events 0 comment I-D Magazine No.6. Day seven was an opportunity to reference production methods from the past, their place in history and their influence and relevance now. Cedar Lewisohn and South East Zines Lisa Novak and Chris Dodson discussed small-press publishing, independent mind-sets and working within the canon with ideas that sit very much outside of it; Graham Congreve from Evolution Print came armed with a generous edition of Evolution Print posters to give away, extensive print know-how and an unbridled enthusiasm for the smell, look and feel of printed matter; Camberwell Press Editor Billie Muraben ran a cut and paste workshop with Illustration students and independent publishing afficionado Teal Triggs gve a talk on fanzines and counter-culture publishing, past and present. Sniffin Glue, by Mark Perry Teal Triggs is Professor of Graphic Design, Course Director of MA Design Writing Criticism, and co-Director of Information Environments at LCC. We asked her to give a talk with particular emphasis on fanzines and counterculture publishing. Street Readers & Writers: Fanzines by Graphic Designers spanned the conception of punk culture and 1970s fanzines to more contemporary work, highlighting the changing face of zine culture and production, the effects of technology, socio-political upheaval and the age of information, and noted how the underlying intention of fanzine authorship is still alive and thriving today. Teal discussed the work of writer, broadcaster and publisher Jon Savage and psycho-geographer Ian Sinclair, the trickle up of street and fanzine culture to advertising and the mass-aesthetic, and examples of fanzines that became a part of, and shape mass publishing like ID Magazine, edited by Terry Jones, which introduced the concept of straight up photography and experimental design and content to the glossies. Teal also went on to discuss ways in which the immediacy of the fanzine process had been adopted outside of punk culture by the Zerox Palaces in India, and how it had originated in the sciece-fiction stories of the 1920s and 30s. Teal has kindly let us reproduce An American Perspective: From The Rag to Riches, her piece from the Things Happen fanzine in the Into the Fold publication. Cedar Lewisohn & South East Zine discussion

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http://itunes.apple.com/us/app/names-in-a-hat/id310533991?mt=8 Have you ever needed to randomly pick names out of a hat and not have the necessary materials to do so? Ive heard the scenario all too many times. You have the names, but what about a hat? Theres not a fedora in sight. Your sleepless nights are about to end!

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http://www.itsnicethat.com/articles/whats-on-into-the-fold Whats On: Into the Fold Posted by Bryony Quinn, Thursday 01 March 2012 For two and a half weeks, Londons Camberwell Press a research-oriented publishing platform housed within Camberwell College of Arts and fuelled by graduates and academic staff are forming practical discourse around the concept of an ideal and interactive studio with their exhibition, Into the Fold. The likes of Rick Poyner, Fraser Muggeridge, Teal Triggs and Sam Winston will be taking up slots for talks and workshops and a publication will be produced from the esteemed collaborators thoughts. We spoke to James Edgar, the curator and creative director, for a little more on the concept and motivations behind such an intensive event What can you tell us about the concept for this show and how the exhibition came about? The college asked us Camberwell Press to take over the Camberwell Space gallery, setting up a design studio within the space. The concept was initiated by discussing the notion of what constitutes a studio, regardless of discipline, and what an ideal studio could be. I am currently interested in the crossover between differing studio cultures and find that collaboration and dialogue occurs when so called non-related disciplines are brought together. The conceptually ideal studio is not defined in terms of a well-designed and built studio space, rather a space in which design projects, workshops, discussions and events can take place. What can we expect from all the designers and practitioners who will be visiting? A diverse range of visual and written material that is curated and displayed onto the gallery wall as it is generated the majority of the content will be created and produced within the gallery/studio. The timing of the exhibition has meant that the invited practitioners have had little time to prepare their contribution but we anticipate that this will result in spontaneity and multidisciplinary collaboration. In addition, an environment can be created where we are not only discussing and presenting but producing in a gallery space. In some cases it is temporal

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http://camberwellpress.org/entry/events/into-the-fold-day-10 Posted by Rosie Eveleigh Category Events 0 comment Prompted by the articulate and sympathetic writing on curator Glenn Adamsons blog, From Sketch to Product, we asked the man himself, along with designer Kirsty Carter of APFEL and architect Andy Groarke of Carmody Groarke to come in and discuss their working processes behind the recent V&A exhibition, Postmodernism: Style and Subversion 1970-1990. They discussed with generosity the conditions which made their cross disciplinary and experimental exhibition design possible, a suitable fitting for the final day of Into the Fold. We have included here an edited extract from that discussion.

Glenn Adamson: This is a good first image, because it suggests some of the interesting points about postmodernism. First of all it is highly graphic as an art movement and as a period, and it seemed to us often that many of the objects on view, were striving for the condition of graphic design: high impact, high communication and obviously, flat. And one thing that you can say of Postmodern buildings and objects, is that they tend towards the quality of the facade, or the stage set. And you can see that here, the image looks digitally rendered, when it is actually a photograph. And one of the things I always thought was striking about Postmodern Graphic Design, was that they almost seemed to have anticipated Photoshop and other digital programs. And although they were mostly working by hand, a lot of what they did looks like what people are doing now. Thats one of the many instances in which the material we were covering in the 70s and 80s seemed to anticipate the current day, and seemed to be newly relevant. While we were working on the show, there seemed to be a ground swell of publication and interest in the topic, and it seemed that when we opened the show last year in 2011, it seemed right on time, very fresh, very appealing. A lot of that had to do with subject matter, but also to do with the design. Andy Groarke: The exhibition design was on the cusp of our two design practices - 2d and 3d - and its quite unusual territory, especially for architects, to work in building things of such a temporary nature. Equally, its very challenging to be working collaboratively, and in a way that forces you to put yourself in

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http://www.thedrum.co.uk/news/2012/03/14/mr-kipling-unveils-exceedinglybus-shelters-which-dispense-free-angel-slice-cake 14 MARCH 2012 - 12:53PM| BY STAFF WRITER | 0 COMMENTS Mr Kipling unveils exceedingly good bus shelters which dispense free Angel Slice cake Mr Kipling unveils exceedingly good bus shelters which dispense free Mr Kipling is unveiling a new outdoor campaign secured by Starcom through JCDecaux, featuring poster sites which dispense free cake from specially converted poster sites. To promote the launch of the snap pack format, 500 Angel Slices will be distributed a day at each of 19 locations, including sites in London, Nottingham, Birmingham, Manchester, Sheffield and Glasgow. The creative was handled by 101. Michelle Wilde, brand director of cakes, said: The repositioning of Mr Kipling is a major commitment for Premier Foods and we are already seeing some success with our new products and pack formats in-store. This activity forms a key part of a whole new campaign for the brand in 2012. As well as issuing cakes, the vinyl-wrapped shelter will emit the smell of Angel Slices from a scent spray used on the poster site. Actress Joanna Page from Gavin & Stacy fame is fronting the PR side of the campaign, including switching on the first dispenser on Londons Tottenham Court Road. The dispenser ads will also be supported by a major experiential campaign with a Cakemobile touring the UK from 27 March until 9 May. The activity will focus on an interactive vehicle commissioned and managed by sampling agency RPM and will promote the brands snap pack format in a celebration of cake-togo to around 500,000 consumers.

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http://www.zazzle.co.uk/cr/design/pt-zazzle_ shirt/?customize_it=true&pd=235754135960463024&qty =1&get_started_dialog=false Apple Beach Ball of Death

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http://www.itsnicethat.com/articles/asos-and-its-nice-that-hawaiian-shirts ASOS and Its Nice That: Hawaiian Shirts Posted by Rob Alderson, Monday 26 March 2012 Get up, rub the hibernatory winter sleep from your eyes and ring out the bells summers here! But hold on just a minute, what the heck are you going to wear? Those thick winter threads arent going to cut it now senor sunshines rocked into town. As you were, weve got you covered. Weve teamed up with our pals at ASOS once again to commission these limited edition Hawaiian shirts designed by five of our favourite artists in the entire world. See who we signed up after the jump Hawaiian shirts have a rich heritage so we couldnt just approach any old creative for this collaboration the weight of quirkily-coloured mayhem was on their shoulders. So after a lot of deliberation and rumination we settled on Australian mixed media master Jonathan Zawada, London-based Michael Willis who combines pyschadelia and kitsch to devastating effect, effortlessley elegant French designer Mario Hugo and two of Brooklyns best Hisham Bharoocha and Mike Perry. Let the summer fun commence! www.asos.com

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http://www.grillitype.com/category/typetester Grilli Type is an independent Swiss type foundry. Founded in 2009, we offer a range of display and text typefaces, based on historical sources or with an experimental background. We strive to produce high-quality, interesting typefaces in the Swiss tradition.

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http://www.nytimes.com/2012/03/30/books/draw-it-with-your-eyes-closededited-by-paper-monument.html?_r=2&src=tp How to Teach Art in 89 Simple Lessons Draw It With Your Eyes Closed, Edited by Paper Monument By DWIGHT GARNER Published: March 29, 2012 RECOMMEND TWITTER LINKEDIN SIGN IN TO E-MAIL PRINT REPRINTS SHARE When the American painter, sculptor and installation artist Paul Thek (193388) taught art classes at Cooper Union in the late 1970s, he wrote and then gave to his students a long, provocative and now famous list of questions and marching orders he titled Teaching Notes. Enlarge This Image Patricia Wall/The New York Times DRAW IT WITH YOUR EYES CLOSED The Art of the Art Assignment Edited by Paper Monument 128 pages. Paper Monument. $15. Related ArtsBeat: Calling All Artists (March 29, 2012) Theks sometimes intimate questions included On what do you sleep? and Have you ever been seriously ill? Among his tantalizing assignments for students were Add a station to the cross, Redesign the human genitals so that they might be more equitable and Design an abstract monument to Uncle Tom. Id walk a long way to see Richard Serra or Cindy Sherman attempt any of these, especially the middle one. Teaching Notes closed with this statement, which professors (and critics) everywhere should etch onto the bottom rims of their reading glasses, facing outward: Remember, Im going to mark you, its my great pleasure to reward real effort, its my great pleasure to punish stupidity, laziness and insincerity.

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http://www.ritator.com/forum-quarterly-journal-for-anthroposophy-01 FORUM Quarterly Journal for Anthroposophy Anthroposophical Society in Sweden FORUM is a quarterly magazine for members of the Anthroposophical Society, containing news, articles, letters and book reviews relating to the anthroposophical movement. The journal reports the activities of the Waldorf Schools, and developments in biodynamic agriculture, curative education and Anthroposophical medicine. Next Image < 1 / 7 > Next Project < 26 / 36 > Art Direction and Graphic Design by Ritator. A bank of hand drawn characters was created, with different versions of every letter. Characters can be selected to create unique headline typography, and allow every word or phrase to be individual and dynamic.

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http://www.ritator.com/forum-quarterly-journal-for-anthroposophy-01 Under Peter Johansson Under is a book commissioned by artist Peter Johansson. In 1989 Johansson cast twenty concrete sculptures. Each sculpture has a different material combined with the concrete, such as metal, sausage, soap, plaster or cheese. They were buried in Falu Koppargruva, a very large, old mine in central Sweden. Johansson then documented the erosion over a period of years. The book describes the artists process as well as bringing together imagery, texts and local stories. Next Image < 17 / 17 > Next Project < 29 / 36 > Art Direction and Graphic Design by Ritator. Inspired by the process of erosion which took place underground, Ritator created unique book jackets, using acid to remove colour from the bookrum.

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http://www.ritator.com/forum-quarterly-journal-for-anthroposophy-01 Degree Show Catalogue Royal Institute of Art Degree Show at Royal Institute of Art, an institution for higher education with a long artistic tradition dating all the way back to the 18th century. Next Image < 1 / 22 > Next Project < 22 / 36 > Silkscreen printed exhibition short guide covers. Art direction and graphic design by Ritator.

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http://idealcandidate.represent.uk.com/home Simply having a great portfolio isnt enough to secure you your perfect position. Studios are looking for more than just evidence of excellent design worktheyre employing a person, and who you are, your approach and how you put that across is just as important as what youve done. Represent asked some of todays leading studios to share with us what they are looking for in a prospective employee, what makes them tick, and what you can do to make sure that youre their ideal candidate...

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http://occasionalpapers.org/?page_id=1995 The first anthology of its kind, Graphic Design: History in the Writing (1984 2011) comprises some of the most influential published texts about graphic design history. The book documents the development of the relatively young field of graphic design history from 1983 to today, underscoring the aesthetic, theoretical, political and social tensions that have underpinned it from the beginning. Included in the anthology are texts by: Jeremy Aynsley Steve Baker Andrew Blauvelt Piers Carey Franois Chastanet Wen Huei Chou Denise Gonzales Crisp Brian Donnelly Johanna Drucker Steven Heller Richard Hollis Robin Kinross Ellen Lupton Victor Margolin Ellen Mazur Thomson Philip B. Meggs Grard Mermoz Abbott Miller Rick Poynor Martha Scotford Catherine de Smet Teal Triggs Massimo Vignelli Bridget Wilkins Edited by Catherine de Smet and Sara De Bondt ISBN 978-0-9569623-0-0 A4, 304 pages, soft cover, black and white

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http://www.bbc.co.uk/news/uk-politics-17576745 1 April 2012 Last updated at 14:24 Share this pageEmailPrint 47K ShareFacebookTwitter Email and web use to be monitored under new laws COMMENTS (1745) Senior Conservative backbencher David Davis criticised the plansContinue reading the main story Related Stories Plan to monitor all internet use Warning over phone calls database The government will be able to monitor the calls, emails, texts and website visits of everyone in the UK under new legislation set to be announced soon. Internet firms will be required to give intelligence agency GCHQ access to communications on demand, in real time. The Home Office says the move is key to tackling crime and terrorism, but civil liberties groups have criticised it. Tory MP David Davis called it an unnecessary extension of the ability of the state to snoop on ordinary people. Attempts by the last Labour government to take similar steps failed after huge opposition, including from the Tories. Unprecedented step A new law - which may be announced in the forthcoming Queens Speech in May - would not allow GCHQ to access the content of emails, calls or messages without a warrant. But it would enable intelligence officers to identify who an individual or group is in contact with, how often and for how long. They would also be able to see which websites someone had visited. In a statement, the Home Office said action was needed to maintain the continued availability of communications data as technology changes.

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WT Residency, Amsterdam Starting from September 2012 Werkplaats Typografie launches a residency programme for committed designers, artists and makers, researchers and thinkers who want to fully dedicate their time to a design related practical project or research. The WT Residency provides working space for three to four residents. The 70m2 studio in the Amsterdam area De Pijp is equipped with basic work stations, book shelfs and a small kitchen, accessible seven days a week, 24 hours a day. Weekly tutorials are held at the studio, regarding design and conceptual questions, as for inquiries regarding editorial, research and publishing. The Residency studio is a framework to focus on personal projects, and progress through concentrated work, as well as in exchange with other residents and tutors. A programme of occasional studio visits from international designers and artists, as well as visits to exhibitions or events in The Netherlands and the neighbouring countries, adds to the studio culture. WT Residency is planned to run for four or six months. To apply for the first four month programme starting 1 September 2012 please send an email including motivation letter and CV to the address below. Deadline is 7 May 2012. Please dont hesitate to inquire for further information at info@wtresidency.org

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http://www.creativereview.co.uk/cr-blog/2012/march/musical-jellies Musical jellies Posted by Emma Tucker, 29 March 2012, 15:48 Permalink Comments (8) Raphal Pluvinage and Marianne Cauvards Noisy Jelly project is a game that allows each player to create their own musical instrument out of jelly. The video for the project uses absolutely no sound editing, and needs to be seen and heard to be believed... Using a mini chemistry lab, each player makes their own set of jellies using water, agar agar powder and a series of molds. The jelly shapes are then placed on the game board, and can be manipulated to create sound.

If you, like us, are slightly bewildered about how all this works, theres some proper science behind it. The game board is a capacitative sensor, and the variations in the shape of the jelly and its salt concentration, as well as the distance and strength of the finger contact, all affect the final sound. The diagram below helps explain things somewhat. pluvinage.eu mariannecauvard.fr

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http://www.newyorker.com/online/blogs/sashafrerejones/2012/03/good-thingsabout-twitter.html#entry-more GOOD THINGS ABOUT TWITTER Posted by Sasha Frere-Jones Several light-years ago in Web time, Jonathan Franzen spoke at Tulane University and said that he found Twitter unspeakably irritating, expressing a concern for serious readers and writers and the mediums inability to cite facts or create an argument. I like that Franzen doesnt sound like a celebrity worried about reducing friction and shifting units. He is the Kanye West of fiction: popular, gifted, influential, and willing to make unpopular statements without the intervention of handlers. But Thomas Jones at the London Review of Books points out that Franzen makes a category error by pitching Twitter users against serious readers/writers. The two coxist, happily. Maud Newton and Sarah Weinman are some of the closest readers I know, and using Twitter has not hampered their ability to create arguments or to be serious. Authors are on Twitter: Sheila Heti, Lynne Tillman, Margaret Atwood, Colson Whitehead, and Neil Gaiman come to mind most quickly, though they are hardly alone. One of the most felicitous uses of Twitter is to promote long-form nonfiction by circulating a blurb leading to the full text. Since the practice started, people have shared current long magazine and newspaper pieces and dusted off archival ones. Now organizations like @longform and @longreads and @TheByliner work specifically to find and share excellent pieces that stretch up to three thousand words and beyond. Before Twitter, I was reading half as much extended nonfiction and fiction as I do now on the iPhone or iPad, using apps like Readability and Instapaper. Two pernicious fallacies embedded in criticism of Twitterand, by extension, blogs, tumblrs, and GIFs of catbots who kill with laser eyesare that nontraditional forms of expression can wipe out existing ones, and that these forms are somehow impoverished. The variables unique to the Internethyperlinks, GIFs, chat, commentshave enabled new writing voices with their own distinct syntaxes. But we are not dealing with fungible goodsthe new forms will never push out older ones because theyre insufficiently similar. You might overdose on unicorn GIFs and go to bed too tired to read Freedom, but unicorn GIFs will never replace Freedom.

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Four years ago, the New York Times Magazine published a cover story by Emily

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http://www.newstatesman.com/digital/2012/03/twitter-just-new-home-oldbores Twitter is just a new home for old bores BY WILL SELF PUBLISHED 26 MARCH 2012

Will Self People say social media are enormously important. Yes they do. Presumably they tweet this sort of thing to one another: Social media are enormously important because they create new virtual communities that offer all the advantages of propinquity without the drawbacks of phys prxmty. I say presumably because Ive never actually tweeted myself, so I dont know if they compose their pithy 140 character apothegms intuitively - or aim for an approximate count then abbreviate as above. In the giddy months when Twitter was trilling up and up to its current state of cacophonous ubiquity, I was asked on a radio panel show if Id ever consider tweeting and replied that the only circumstances under which I could imagine doing such a thing would be if a songbird flew into my mouth. Nowadays Im not feeling so secure on the matter. A friend who works in publishing told me recently that use of social media is now part of her regular job assessment; and furthermore, claimed that in ten years time no one would be able to have her sort of career if they couldnt tweet. It does seem surpassing strange to me that an ability to discover, assay then disseminate 140,000-word texts should be predicated on the broadcasting of 140 character slogans - but then what do I know? I wasnt even aware that F Day had been reached on 13 February this year - hell, I didnt even know what F Day was. My next door neighbour filled me in: F Day is when the number of Farmville players in the west officially exceeded the number of actual farmers. But when will Peak Farmville occur? This being the point at which so many people are engaged in playing Farmville, Angry Birds and all the other little time-wasters embedded in social media sites, that theres no one left to produce the food necessary to keep them alive. And if Peak Farmville, why not Peak Twitter? Apparently the tweets currently posted on the Twitter site each day could fill 8,721 copies of War and Peace. Good gossip Twitter seems to be a way of getting together with people and showing off, or having a good old gossip. On Twitter some tweet streams are open-access, others are confined to followers, still more are mere birdbaths sipped on by a 229

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http://www.textbookleague.org/103feyn.htm Annals of Corruption: Part 1 In 1964 the eminent physicist Richard Feynman served on the State of Californias Curriculum Commission and saw how the Commission chose math textbooks for use in Californias public schools. In his acerbic memoir of that experience, titled Judging Books by Their Covers, Feynman analyzed the Commissions idiotic method of evaluating books, and he described some of the tactics employed by schoolbook salesmen who wanted the Commission to adopt their shoddy products. Judging Books by Their Covers appeared as a chapter in Surely Youre Joking, Mr. Feynman! -- Feynmans autobiographical book that was published in 1985 by W.W. Norton & Company. To introduce a series of articles about corruption in schoolbook-adoption proceedings, we present here (with permission from W.W. Norton & Company) an extended excerpt from Feynmans narrative. As our Annals of Corruption series unfolds, readers will see that Feynmans account is as timely now as it was when he wrote it. State adoption proceedings still are pervaded by sham, malfeasance and ludicrous incompetence, and they still reflect cozy connections between state agencies and schoolbook companies. Judging Books by Their Covers Richard P. Feynman I was giving a series of freshman physics lectures [in 1964], and after one of them, Tom Harvey, who assisted me in putting on the demonstrations, said, You oughta see whats happening to mathematics in schoolbooks! My daughter comes home with a lot of crazy stuff! I didnt pay much attention to what he said. But the next day I got a telephone call from a pretty famous lawyer here in Pasadena, Mr. Norris, who was at that time on the State Board of Education. He asked me if I would serve on the State Curriculum Commission, which had to choose the new schoolbooks for the state of California. You see, the state had a law that all of the schoolbooks used by all of the kids in all of the public schools have to be chosen by the State Board of Education, so they have a committee to look over the books and to give them advice on which books to take.

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It happened that a lot of the books were on a new method of teaching arithme-

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The Worlds Sweetest Scrabble Set Is Now A Reality WANTED ONE OF THE MOST POPULAR GAMES GETS UPGRADED WITH A MEDLEY OF TYPEFACES AND A SOLID WALNUT BOARD. 10 NOTES 343 TWEETS 17 LIKES Scrabble is such a mainstay of American board games that its easy to overlook the fact that theres much that it could so easily be improved. In fact, its ripe for a major redesign if you ask Andrew Capener. A recent design-school grad, he created a special typographic edition, which we featured last year and is now available for pre-order. In keeping with his A-1 Scrabble prototype, Capener dispenses with the original News Gothic-y look in favor of an assortment of 15 typefaces. (The final list of which will be decided once he has finished negotiations with the various foundries.) The board, too, has been upgraded: Six magnetized panels come in a solid walnut box and snap together to form a 19-by-17-inch playing surface. Whereas the designer originally specified the tile racks be made of wood, he has since changed the material to metal. The board and tile rack combination became too monochromatic, and I felt that there needed to be some pacing in the set, Capener tells Co.Design. The material echoes the magnets that hold the six game panels together. We also wanted to do all that we could to give the end user a set that was made from the finest materials possible. The first limited-edition run of 1,200 (each hand-signed and numbered) is expected to ship in August, after which Capener will release single-type packs, so type obsessives can collect their favorites. (Were guessing Helvetica will be among them.) We really want to excite current type lovers and encourage a whole new crowd of people to explore the beauty that is the art of typography, the designer says. Order Scrabble Typography Edition for $199 through Winning Solution, an official licensee of some Hasbro games. And do so soon--as of this posting, there were only 66 left!

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CLS LINE INPUT C:\DOS\BBS\GOOGLE>; A$ LINE INPUT C:\DOS\BBS\GOOGLE>; A$ LINE INPUT C:\DOS\BBS\GOOGLE>; A$ PRINT Loading... LINE INPUT ; A$ CLS WIDTH 80, 25 LOCATE 25, 1: COLOR 14, 1: PRINT SQUIRREL-MONKEY BBS Serial Connected Login time ; TIME$; ; COLOR 7, 0 FOR A = 1 TO 25 PRINT NEXT A LOCATE 24, 1 COLOR 7, 0 SOUND 29999, 1.5 PRINT SOUND 29999, 4.5 PRINT Selected BBS [GOOGLE SEARCH ENGINE] SOUND 29999, 8.5 PRINT Dialing number... SOUND 29999, 9.5 PRINT Sending connection key... SOUND 29999, 3.5 PRINT Receiving data... SOUND 29999, 5.3 FOR A = 1 TO 160 STEP 1 COLOR 7: PRINT .; s = INT(RND * 2) SOUND 29999, s NEXT A PRINT PRINT PRINT ; : COLOR 2: PRINT Welcome back, ANONYMOUS. Today it is Saturday 2 February 1985!; : COLOR 7: PRINT PRINT SOUND 29999, .5 SOUND 29999, 1 COLOR 7: PRINT ; : COLOR 9: PRINT ; : COLOR 4: PRINT ; : COLOR 14: PRINT ; : COLOR 9: PRINT ; : COLOR 10: PRINT ,,; : COLOR 4: PRINT ; : COLOR 7: PRINT ; SOUND 29999, 2.5 COLOR 7: PRINT ; : COLOR 9: PRINT .g8; CHR$(34); ; CHR$(34); ; CHR$(34); bgd ; : COLOR 4: PRINT ; : COLOR 14: PRINT ; : COLOR 9: PRINT ; : COLOR 10: PRINT `7MM; : COLOR 4: PRINT _ ; 238 ; : COLOR 7: PRINT 239

http://readingforms.com/page/3

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14th March 2012 SPORT RELIEF FRIDAY 23RD MARCH Litcham Primary is selling Sport relief sweat bands @ 1.50 each (one per pupil) from Friday 16th March. On Friday 23rd the whole school will be participating in the Sport Relief Run starting at 2.00 p.m. Sponsor forms are attached. Mums, Dads and other family members are encouraged to run with the children.

SPRING CONCERT Tuesday 27 March 2012 at 2.00 p.m. and 6.00 p.m. Tickets can be purchased from the school office @ 1.50 (maximum of 3 per family initially) the proceeds from the sale of the tickets will go towards our music fund (available from Monday 19th March) Only children involved in the individual or small group performances at the concert are required to return for the evening performance at 5.45 p.m. and they will need to be collected at 7.00 p.m. please. If there are sufficient children at the evening performance for the class items these will be included in the programme. Any of our children may attend with their parents for free; as I am aware younger children may have older siblings performing. (The event is an opportunity for our classes, our orchestra, recorder groups and our pupils who have instrumental music lessons to perform and share with the whole school community what they have been learning) th

Easter Bonnet Parade Its that time of the year again to get creative!! The Parade will start at 9.05 a.m. on Friday 30th March. Hopefully many of you will join with me in wearing a bonnet for the occasion.

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http://www.nytimes.com/2012/04/08/magazine/angry-birds-farmvilleand-other-hyperaddictive-stupid-games.html?_r=2&hp

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http://www.metro.co.uk/sport/oddballs/880255-mexican-side-jaguares-replace-shirt names-with-twitter-handles

Mexican side Jaguares replace shirt names with Twitter handles Mexican Primera Division side Jaguares have taken their dedication to Twitter to a n level, by printing players official account names on the back of their shirts. Related Tags:Rio FerdinandValenciaAlex FergusonWayne Rooney

Sol-d out: Jaguares give their players and sponsors a helping hand (Picture: Twitter) In a shameless attempt to round up more followers, the Mexican club also plastered their sponsors Twitter handle below the players own. @MetroSport is quite frankly disgusted However, theyre not the first team to take Twitter to the pitch, as Valencia recently donned the clubs official account on the front of their shirts in place of a sponsor. Manchester Uniteds social network heavyweight Rio Ferdinand has long joked abou the possibility of having his famous @rioferdy5 printed on the back of his Red Devils jersey, but presumably hasnt yet plucked up the courage to ask Sir Alex Ferguson. He may need to soon though, as his United team-mate Wayne Rooney has overtaken him as the Premier Leagues most popular tweeter. Ferdinands follower count stands at a whopping 1,596,000 and counting, but Rooney comes in at well over the 1,896,000 mark. Read more: http://www.metro.co.uk/sport/oddballs/880255-mexican-side-jaguaresreplace-shirt-names-with-twitter-handles#ixzz1saREvtNb

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http://www.bbc.co.uk/sport/0/football/17608531 Womens Super League launches Twitter kit initiative to raise profile Womens Super League players will be the first professional athletes in the UK to have their Twitter account names printed on their shirt sleeves. One player from each of the eight sides will wear the social network logo to boost the WSLs profile. The professional summer league begins its second season on Sunday. Were trying to be really innovative about how we can capture the imagination of the public, said England coach Hope Powell. WSL bosses say they have conducted research into the profile of womens football and conclude a lack of media interest is seeing fans turn to social networks for their news. The league, which was launched in April last year, claims it has seven times as many Google searches per thousand WSL spectators compared to the mens Premier League. FA Womens Super League digital ambassadors Arsenal: Stephanie Houghton ( @stephhoughton2 ) Birmingham: Laura Bassett ( @laurabassett6 ) Bristol Academy: Siobhan Chamberlain ( @Sio_Chamberlain ) Chelsea: Claire Rafferty ( @clrafferty1 )

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Nike ID x Boxpark exhibition launches tonight featuring Michael Willis and 11 other great artists!

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http://uk.lifestyle.yahoo.com/kate-moss-daughter-airbrushed-in-vogue.html?r ef=type%3Aread%2Cuser%3AKpT6VOhCyk5AIWZBlLVISJrkfes&fb_action_ ids=10150621323921213&fb_action_types=news.reads&fb_source=other_ multiline&code=AQCu0EXLOSqsFba7onkZAvcMSnW777rBIGk0G2208bF NsQ3NedIDJJTTPSI7