emerge

issue 1 free

A free bimonthly publication showcasing emerging young talent in different areas of graphic design as well as working professionals,

acting as a platform for inspiration.

type & layout

p.01 emergep.02-05 mia porterp.06-11 bookshelf w/ rob giampietrop.12-15 catalogue

p.16-17 dean pauley p.17-18 sueh li tan

p.20-21 events & credits

www.emergemagazine.co.uk

Welcome to the first issue of Emerge, here at emerge we want to use this publication as a platform to inform, inspire and

educate our young readers about emerging talent, the industry and how to get yourself noticed. Each month we will bring new ideas and issues which arise in contemporary graphic design and each indivudual issue will focus on a different

theme of design with relevant features in that area.

Emerge also hosts an online forum on our website for young designers who are doing their degress, post-grads, diplomas

to showcase their work and get feedback on pieces, whilst also being a place to exchange ideas and thoughts.

If you’re looking for inspiration closer to home, it’s easy just to cruise Flickr, FFFound or Tumblr until you see something you

like. In our experience, though, something good always seems to happen when you step away from the screen. If you’re lucky enough to live in a major city such as London you’re spoilt for choice as far as museums and galleries (which, of course, are a great source of inspiration) are concerned. It seems like the

punters agree

In this issue’s profiles we look at the very young and very talented agency Catelogue. Despite only graduating a couple of years ago from Leeds College of Art, the duo are creating very accomplished work and are a great examples of what

happend when you just go for it.

We’ll also be looking at someone who has beeen around a lot longer, rob giampietro who is a principle at the New York based design studio Project Projects, we invited rob to our regular feature booksheld to talk about the books that has

inspired him as a growing designer and the ones he still turns to for reference as a working professional.

Elsewhere in the magazine we will be showcaseing new emerging talent who have just graduated from dean Pauley from Glasgow and Sueh Li Tan who has just finished a post-grad in the Netherlands, this showcase shows talent from around Europe and how different cultures and experiences

have imapacted their design direction.

issue 01emerge about

emerge p.02 mia porter

Having recently graduated from the University of Brighton, with a First Class Honours in Graphic Design, Mia has got the attention of the design industry with a very unique style combining a variety of print processess. Mia’s work is driven by typography and clear, clinical layout. Mia’s approach to format gives her work an interesting dimension.

A very strong set of posters commemorating 50 years since the construction of the Berlin Wall cemented Mia Porter’s place as one of The emerge’s showcase. Her work plays, in quite a specific way, with classic graphics and colour, intelligently reduced to some very nice looking hand crafted elements and unforced imagery. Mia moved sea-side after a year at Chelsea School of Art and has just completed Graphic Design at the University of Brighton…

She has a very informed portfolio, be it the synesthetic celebrations of the life of John Barry or through the multiplicity of a particular process. On the subject of motivation – “I spent my summers backpacking around Central America and interning in Amsterdam, both of which have been central to the inspiration for my work. I owe my survival of the last three years to copious amounts of: haribo, lists, pro-plus and the wise words of Paul Simon.”

If your portfolio was on fire, and you could only save one piece/project, which would you choose, and why?

Probably my book Mauer simply because of the hours that went into printing, re-printing and hand binding it. I probably wouldn’t be too bothered by anything else; if it is important I can get it re-printed – if not I probably should have thrown it out anyway. I constantly try tore-assess my work to keep it fresh.

If you could collaborate with another artist/designer (or a number of artists/designers) to make a piece of work, who would you work with and what would you make?

I’m really inspired by Dutch design at the moment and would love to work with Amsterdam based Experimental Jetset. They were commissioned to do a project a few years back called ‘Elysian Fields 1’, an interesting exhibition catalogue experimenting with layout and colour. I’m very keen on the idea of spending a great deal of time on a project like that, really taking time over each layout and releasing my inner perfectionist.

What was your finest moment at art school?

Probably the three days I spent with a class mate making a giant boom box on my bedroom floor using household items, art attack style. Perhaps not the finest but certainly the most memorable project.

We believe it was the Jonas Brothers who once said “we’re the kids of the future.” How, if at all, do you relate to that?

I’m not sure I can relate to the Jonas Brothers much but I think a lot is to be said for their ‘insight’. There are so many exciting, new ideas coming out from art schools right now that should be embraced. As graduates we should value our time and opportunities, as we won’t be the new kids for long.

Can you give us ONE prediction about you and your work for the next year?

I think it’s going to be the best yet. It’s the first time in years that I haven’t had a plan and I can’t wait to see what happens next.

p.03emerge Self Promotion

emerge p.04 mia porter

There are few professions for which self-promotion is more important then that of graphic designers, for it is on the material that they produce to sell their own services that they will be judged. Business cards, greeting cards, invitations, office stationery.. all are examples of the work they are capable of. And if designers cant design a decent piece of self-promotional material, what hope do they have of convincing a potential client that they could do a good job for them? it’s not a skill that is taught at art school. In fact, it is the ultimate ‘freedom unlimited’ commission - you can do absolutely whatever you like with it. But it helps to know what others have done before you - especially if they have gone on to achieve great success in their fields. In this, our new feature, we present the self-referential of emerging design talent Mia Porter and her take on promoting herself.

Having recently graduated from the University of Brighton, with a First Class Honours in Graphic Design, Mia has put together a lovely piece of self promotional work, which is simple, different and inviting. The mail out pack consists of an A2 poster which is folded down to B6 and contain her CV, notepaper and loose B6 cards of selected work.

We caught up with Mia to talk about self promotion and her mail out and where she is now as a result of her self promotion work.

emerge p.05 mia porter

How important is self promotion for students and graduates ?

Very, I feel as a graduate going in to the industry and student working on a degree/in education you definitely need work experience and there’s only one way you will obtain something like that and its through self promotion, be it via email or physically sending things you need to get notices and put your name out there and build a strong contact lists because you never know who you could potentially meet from it.

What was the concept behind your mail out?

Well my work is driven my print based resolutions so I wanted to mail out something which was Physical and be handled by the people I sent it to, I’m sure most studios are bombarded by email so I wanted them to take something from me and have something physical that represented me as a designer and to just make peoples and studios aware of me and what I’m capable of.

How do you feel you portrayed yourself through your promotional work?

I feel that not only through the postcard visuals of my work which are Heavily driven by typography and layout they way I have packaged and present this mail out show I am capable of using stock, experimenting with folds and layoutWhere did you send your mail out?Well, I’ve always had a plan that after graduating I would want to move to London... Of course London being such a big city the amount of design studios that are based there are endless, But there was about five studios which I had my eye on and had been in contact through via email

Obviously, the production side of self promotion can be very heavy, does it have to be that way ?

It’s tricky, I feel that if you have a limited budget you’ll be forced to be creative and make-do with what you have and what you can produce but I think In my case, I didn’t have lots of money to spend it was a cheap way of producing something in comparison to sending out vast amount of products. I also think it depends what sort of area you’re trying to get in to, m work is very print driven so it seemed natural to be sending out printed matter, Obviously this production was limited so I made sure I got the most out of my money by really focusing on who I was sending my mail out to, to get noticed. Ultimately you have to be creative and get peoples attention and make them want to look at your work regardless of how much money is available.

www.miaporter.co.ukwww.twitter.com/miajaneporterhttp://miaporter.blogspot.com/

emerge p.06 bookshelf

bookshelf

w/ rob giampietro(project projects)

Ever wondered what’s on the bookshelf of some of your favourite creatives? What books they turn to in need of inspiration or

reference? Whether they’re a messy Mary or a tidy Tina? Well look no further, because every issue we invite someone from the creative industries to share with us not only a rundown of their

favourite five books in the whole ruddy world, but also a real-life picture of the shelf on which these esteemed titles live.

emerge p.07 rob giampietro

New York based Rob Giampietro is the editor of the “filing cabinet online”, Lined and Unlined and a principal at Project

Projects (and more). More specifically, as a graphic designer, educator and author of the impossibly vast archive of articles

on the mutually inclusive fields of design, art, philosophy, education (and more), he is extremely qualified to tell us about

his five books for our Bookshelf feature (and more). We shall hereby tack the “and more” suffix onto Rob’s name every time we see it, it also explains the cheeky further reading list we let

him have…

Project Projects is a design studio focusing on print, identity, exhibition, and interactive work with clients in art and architecture. The studio was founded in 2004 by Prem

Krishnamurthy and Adam Michaels; Rob Giampietro joined as a principal in 2010. Project Project’s clients include the Berkeley

Art Museum, Bard College Center for Curatorial Studies, Bernard Tschumi Architects, BOZAR Brussels, Canadian Centre

for Architecture, Field Operations, Guggenheim Museum, Harvard GSD, Michael Van Valkenburgh Associates, Museo Tamayo, The Museum of Modern Art, National Museum of

China, New York City Department of Parks & Recreation, Phaidon, Princeton Architectural Press, SALT (Istanbul), Steven

Holl Architects, Tablet magazine, Vera List Center for Art & Politics, Whitney Museum of American Art, WORKac, and the

Yale University Art Gallery.

The studio has been a Finalist twice in the Cooper-Hewitt National Design Awards (2009 & 2011) and has received

numerous distinctions including the ADC Bronze Medal, I.D. magazine’s 2007 Design Distinction Award, the Art Directors

Club Young Guns 5 Award, several Society of Publication Designers merit awards, and the AIGA 365 Award. In addition

to client-based work, the studio initiates and produces independent curatorial and publishing projects.

www.blog.linedandunlined.comwww.projectprojects.com

emerge p.08 bookshelf

Typeface as ProgramFrançois Rappo

What is a typeface? It seems like this question was asked and answered long ago. But question is at the center of this engaging catalogue of typographic explorations conducted in recent years at ECAL/University of art and design Lausanne, which suggests the answer is in need of a major update. A fascinating survey of technologies, techniques, and traditions in flux. Jürg Lehni’s essay “The Nature of Type Design in the Digital Age” is an must-read.

Anthology of Concrete PoetryEmmett Williams

Edited by one of my heroes, the freewheeling poet-editor-artist Emmett Williams, this anthology announces on its own cover in large, bold Optima that “the publishers of Something Else Press, Inc., take great pride in presenting this most active of modern poetry movements and in introducing so many major writers from so many countries between these covers for the first time to the American reading public.” It does exactly that, offering a parade of approaches and experiments, complete with annotations, to the practice of poem-making. Though Williams notes in his foreword to the 1967 edition, that “the poem as picture is as old as the hills, or the men who once lived in them, scratching their histories and fantasies in the preliterate strokes on the walls of caves,” he insists that these poems have been “born of the times, as a way of knowing and saying something about the world of now, with the techniques and insights of now.”

Varieties of DisturbanceLydia Davis

Known for writing the shortest of short stories, Lydia Davis’s flawless collection from 2007 mixes the aphoristic dread of Kafka with the verbal gameplay of Perec and adds a dash of wisdom and tenderness that is utterly Davis’s own. In her hands, the experience of reading words and the experience of experiencing what those words themselves describe collapse into a single wedded thing. Read 20 Sculptures and you will know exactly what I mean.

Postwar Fiction and the Rise of Creative Writing Mark McGurl

This book has been on my mind a lot lately. McGurl, a UCLA English professor, looks at the explosion of creative writing programs in the US in the postwar period — 52 degree-granting programs in 1975 compared to over 300 in 2004 — and tries to read the creative writing program both into and through the literature it has produced. Even-handed and routinely enlightening, McGurl’s study is full of formulations like this one: “‘Experience’ and ‘craft’ and ‘creativity’ have been in more or less constant dialogue across the Program Era. One way to flesh out this dialogue is to look at the familiar set of prescriptive slogans in which they are complexly encoded: ‘write what you know’; ‘show don’t tell’; ‘find your voice.’” As a design educator, I think there’s a lot McGurl has to teach us.

Secrets: On the Ethics of Concealment and Revelation Sissela Bok

Bok is a Swedish philosopher and a Senior Visiting Fellow at Harvard’s School of Public Health. Building on her earlier book, Lying, Secrets is a vast survey of the ethics, instances, and effects of secrecy in nearly every part of our society — secret societies, confidential sources, state secrets, trade secrets, and more. In our age of Foursquare check-ins and Wikileaks cables, it’s endlessly fascinating to read this book, first published over 25 years ago, to see how much its core questions still resonate: “How far should one go in protecting one’s secrets? Should one conceal all that friends and colleagues confide? When may a promise of secrecy be broken? Are there times when it must be breached? Under what circumstances is it wrong to gossip about the secrets of others, or to pry into them? Is secrecy corrupting when it promotes the unchecked exercise of power?” There’s enough to more than fill Pandora’s Box, which naturally Bok examines as well.

Further reading:

The Mirror in the Text by Lucien Dällenbach. Parallel Encyclopedia by Batia Suter.Bruno Munari: Air Made Visible edited by Claude Lichtenstein & Alfredo Haberli.Gramophone Film Typewriter by Friedrich Kittler. The Shape of Time by George Kubler…

emerge p.09 rob giampietro

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emerge p.12 catalogue

catalogue

This issues Studio feature is with catalogue, each month with emerge we will showcase design studios and freelancers who are making their mark on the design industry, showing their design work and having a chat with them to give an insight into their

design practice.

w/ tom pratt& oliver shaw

emerge p.13 catalogue

Tom Pratt and Oliver Shaw are two alumni students from Leeds College of Art’s BA (Hons) Graphic Design course.

Together, they have set up Catalogue- an independent graphic design studio specialising in design for print, branding,

identity, books, exhibition and web. They also run a sister company called Printshop, which produces high quality screen

printed T-shirts, posters, bags and other items.

generally students coming out of graduation will do a few internships, hope for full time employment, however, Catalogue decided to set their own studio up having done

internships whilst on their degree, they felt that working as an intern morally was unfitting for them. they didn’t want to be

working as part of some huge corporate design agency.

Having only been established for two years, this studio has built up quite a reputation not just in Leeds, but they are

getting attention across the UK and Europe. both through their design work and their print work which has seen them travel to

Germany to zine fairs.

Last year, they produced the award winning 2011/2012 prospectus for the Leeds College of Art, Putting their practice

on the map and beginning their journey in to working professional in the design industry.

We caught up with them to find out what they have been doing since....

Website - www.thisiscatalogue.co.ukBlog - thisiscatalogue.tumblr.comprintshop - thisisprintshop.co.uk

catalogue library - cataloguelibrary.co.uk

emerge p.14 catalogue

When did you set up Catalogue?

Tom: In the final year of our Graphic Design course. We decided that we would like to work together, and initially we had a debate on whether we were going to work full time or part time. When we got the prospectus brief from Leeds College of Art and realised we would have the initial work we needed to start our own studio.

Do you feel the skills that you learned at College have helped you in your professional work?

Tom: Ollie and I collaborated on a few projects in our final year and that was encouraged by our tutors who recognised that we had a similar ethos about design and similar ideas, and we worked well together. I suppose this encouraged us to keep working together once we graduated. Ollie: During the course we had screen printing workshops and we were taught how to set work up for print, which was helpful for industry. One of my last tutorials with Fred Bates was really good, and I told him what Tom and I were planning and he was positive and said he could imagine us setting up our own studio, which gave me encouragement.

How did you find setting up your own company?

Tom: We did a course in Enterprise and Innovation at College and we have learned as we have gone on from experience.Ollie: We’ve been careful to keep things above board. Having only two of us make things easier to manage as well. Tom: It’s like anything- when you make the transition from being in education to working for yourself, the direction of the work has to change slightly. The college courses can be more of a personal investigation- you write your own briefs and make the work that you want to be doing. When you step out of that box, into client led work, you can get a big shock when a client turns around and says ‘No, I hate it,’ - you have to learn the hard way how to run your business.

Did you have a role model, or anyone that’s guided you?

Tom: Joe Gilmore (artists and tutor at Leeds College of Art) was a big inspiration whilst we were at college because he is a good example of someone who has gone out and started working for themselves, and not compromised his work. He has a lot of integrity which we admire. Ollie: He hasn’t worked in a big studio environment, which we like. We’d never like to work in a big studio

Did you do any work experience whilst at College?

Ollie: Yes, in a small studio, with two guys with a similar set up to ours- they left university and worked in a big publishing company in Harrogate for six to seven years, and decided they would like to work for themselves and teamed up to share work. That’s exactly what Tom and I have done, and I really enjoyed working there. I’ve heard horror stories from friends about larger companies, and they can feel like part of a big machine, and that they are losing their creativity. When we get a brief we can re-write it ourselves and do what we like. We don’t have an overall boss limiting colours and fonts. We haven’t seen a massive transition between college and professional work, which is what a lot of our friends are experiencing.

Do you think that’s because you are good at building contacts and networking?

Tom: We do get a lot of work through word of mouth. We’ve been lucky in that respect, we have not had to actively go out looking for work- we’ve been too busy with our current projects which have come from contacts in Leeds.

Do you feel like you are part of a creative community in Leeds?

Tom: I would say we are. It seems like more and more people are starting to make things happen,Ollie: We have helped other artists and collectives with their projects. We’ve started to work with Joe Gilmore and Nous Vous and we hope to continue working with them.

You recently got involved with Pick Me Up- the UKs first contemporary graphic art fair. Can you tell us about that?

Ollie: We went there with Nous Vous and Joe Gilmore. Nous Vous had an exhibition called Fresh Ones- where everything they made was a one off and handmade during the show. Nous Vous made two thirds of the show and asked other designers to display their work on a shelf as part of the exhibition. We printed a large wall piece two metres by one metre that Joe Gilmore had designed. It was a non repetitive pattern made of three tiles.

How is Printshop going?

Tom: Better than expected. When we moved into our first office we were daydreaming about buying a screen printing

emerge p.15 catalogue

‘designed’ and considered. Ollie: The College has helped us a lot with work and I think having the college on our portfolio helps- it boosts our brand and people can trust us to do good work. We like to work for independent companies, the College is a large company, but it’s still independent and not that corporate. It’s nice to work with someone that’s helped us out quite a lot and set us up to be where we are now.

What are your plans for the future?Tom: We’d like to push forward the screen printing- setting up a clothing line independent from Catalogue. Lots of shops in Leeds and London want our t shirts, so we need to capitalise on that.

Would you like to set up your own shop?Tom: Yes, but that would be quite far in the future, but I would never want to stop designing. At the moment it’s great because we can design the t-shirt and print it ourselves in house so we are doing everything we want in one process.

How are you finding running your own company?Tom: We’re really enjoying it- we’ve kept our integrity and we are really happy with the work we produce- we’re not selling out which feels really good.Ollie: Some months can be a little hard, but we can always scrape through. We’ve only been doing this for 9 months, hopefully in a couple of years we’ll still be working for the same type of people, but more frequently.

What advice would you offer to someone that’s still in college or recently graduated?Ollie: Move into an office- don’t try and work from home; being in a professional environment and having to pay rent on a studio helps you to focus. Tom: Try and keep your integrity and do the work that you want to do. The biggest encouragement for me is that people have chosen to work with us because of our ‘house style’ -people recognise the skill in the work we do and how it can be applied to their projects.

press. When we moved here it seemed a shame not to make use of the space available to us, so we invested in the equipment, to offer the service to clients. We do a lot of printing of t-shirts for bands, design companies and we can screen print all our own stuff. It’s great to be able to design in the office, then go outside and print the work- so many people don’t have that opportunity to do that.

Do you think being in Leeds is important to Catalogue?Ollie: Yes, it’s relatively small place and everyone knows each other, and that works to your advantage.Tom: We don’t feel like we need to go to Networking events as we know a lot of people in Leeds. Networking tends to take place in an informal manner through friends and businesses we know.

Where do you think Catalogue fits into the graphic design market?

Tom: We’ve found a niche in the market, as we are one of the only people in Leeds doing clean, organised and modern design. Because we are small, there are only two of us; we can offer that service to smaller companies, with smaller budgets. The other companies that are offering similar designs are in bigger studios and need massive projects to support them.Ollie:We are happy with what we are doing. We are also a lot more personable than bigger  studios- there’s no secretary and communication is easy, you can talk directly to us.

Have you got a favourite project or client?

Tom: We’ve got some work coming up which should be really exciting.Ollie: In the past, I liked the Patrick Oliver books and Vibrations magazine- we like working on books and magazines. We are also really proud of. The Leeds College of Art Prospectus gave the studio got a lot of exposure because the prospectus got plastered all over the design world- it’s been on blogs in many different countries. It’s recently won gold at the Heist awards, which is an incredible achievement, and great recognition for ourselves and the college.

Is that because of how you promoted it?Ollie: We sent it to a few people and it just got passed around and escalated because it’s a nice piece of work. Tom: We think it’s the best prospectus so far for the College, the reason it did so well in Graphic Design world is that it ticks all the boxes, the finishing, the aesthetic- it’s very

emerge p.16 dean pauley

Dean Pauley is a recent graduate from the Glasgow School of Art where he studied BA (hons) Visual Communication. We decided to catch-up with Dean to talking about what he’s been up to and his design process.

What is your thought process when you first tackle a design job?

I initially just make notes on the brief given, highlighting key points, deliverables, target audience then I’ll put pen to paper sketching and writing down initial ideas and thoughts. Once I have a few Ideas I think are worthy of taking forward. I’ll then look at them individually and see how they can be developed conceptually within a context. By this time I’m looking at designing, body copy, fonts, colours etc.

Since Graduating how have you found the industry, are you working/interning or free lancing?

straight after graduating I did a batch of internships which were generated from my end of year show on my degree course. I’m now currently based at o-sb as a designer. I’ve been doing a bit of free lance work as a side project from work so I don’t get completely caught up in everything and keep things fresh.

You won D&AD’s new blood, how did that feel?

Fantastic, opened so many doors, the exposure you get from something like D&AD is unbelievable, the new blood event was really good, got to meet some incredible people and got a few useful contacts. dean pauley is a recent graduate from the Glasgow School of Art where he studied BA (hons) Visual Communication. We decided to catch-up with Dean to talking about what he’s been up to and his design process.

What is the best piece of advice you’ve been given about design?

To stay on point and make sure you’re communicating with your audience.

emerge p.17 dean pauley

How would you desccribe your work?

My work is driven by type and layout, its clear, functional and modern. I have a particular interest in book design, I feel this aspect of design shows off the way I work most.

How has your understanding of design and the way you work changed since graduating?

Its completltely different, When I was doing my degree I was writing a lot of my briefs as part of the course so I was producing work I wanted to however on a few freelance jobs I’ve done your realisticly not going to be doing what you want, it can be very client driven.

Are interships an unavoidable necessity for design graduates?

For me, Yes. You learn so much I’ve done a few in my time no matter how long its been for even if its a couple of days, the knowledge you can pick up is really a good and to be exposed to a professional work environment is very useful. Even if it doesn’t go completely well, its still an experience and you’ll take something away from it.

What is the best design advice you have every recieved?

It’s quite lame, but its stuck with me... maybe that’s why but when designing a book it should be like a rollacoaster it should have its highs and its lows, you want spread which are really going to jump out at you and then you want spread which help break it up and give the reader a break where they can relax.

What are your plans for the future?

Currently working at o-sb as a designer and doing freelance work, who knows what the future holds for me.

www.o-sb.co.ukwww.deanpauley.co.uk

emerge sueh li tan

Sueh Li is a graphic and type designer from Penang, Malaysia. She stay and study in The Netherlands since 2007. She is a graduate from the Type and Media Master program at the Royal Academy of Art, The Hague in 2009. She is currently resides in Malaysia.

Are interships an unavoidable necessity for design graduates ?

Not necessarily. Interships are just one part of the learning process for young designers.

What’s the best advice you’ve ever recieved?

If you’re not enjoying what you’re doing while working on a certain project, you aren’t on the right teack. w

Tell us about your work with Martin Frostner.

Biskops Arno is a customade typeface for the identity project of a Nordic Folk High school Biskops Arno. Since the history of the school can be traced back to the twelfth century, the typeface is a tweak based on Carolingian Minuscule - the script that was often found in Sweeden during that period. The letter shapes is a balance between broad nibs and stencilled geometric forms.

What would be your fantasy project?

To be commisioned to produce a piece of design that reflects the local cultures of Malaysia

How does the design culture differ between the far east and Europe?

The design culture in the far east, especially in South-East Asia, still has lots of space to grow and in many areas design still hasnt reached saturation point. Meanwhile in Europe, design already has an unavoidable impact upton everyday life.

Describe your work in three words. Intuitice, perosnal, typographic.

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p.19emerge sueh li tan

emerge p.20 feature

Kate Stanners, creative partner, Saatchi & SaatchiBrands in People’s Hands

Kate Stanners passionately advocates the practical application of creativity in transforming business. Using examples from this year’s award-winning campaigns, Kate will discuss an approach to advertising that is inclusive, integrated and popular, involving live events and audience interaction to develop brand narratives.www.saatchi.com

Matt Jones, Principal, BERGGardens and Zoos

Matt Jones has been delivering exceptional digital products and services for over fifteen years, and was recognised as one of Wired ‘s top 100 2011. Looking at games, science-fiction and BERG’s own work (including a top project to be unveiled in 2012) — he attempts to find out what happens when technology acquires a (tiny) mind, motives and behaviours. Rather than treating technology as a tool or an extension of ourselves can or should we think of it as alive?berglondon.com@berglondon

Projects Preojects

Date: November 26, 2011Time: 16:00 - 17:30Location: Berlin, Germany

Gestalten is pleased to welcome Prem Krishnamurthy—graphic designer, curator, and founding principal of renowned New York design studio Project Projects—for a talk on Saturday, November 26, examining the specific intersections of artistic and curatorial practice within the field of exhibition design.

This is Design

August 24th — January 22nd, 2012 / Ends in 2 months

This is Design is a celebration of the Design Museum’s Collection and shows the impact of design on the modern world. Arranged around the themes of identity, manufacturing innovations, the digital revolution and lifecycle, the exhibition explores the consequences of design for both our individual lives as well as contemporary culture.After over five years of being catalogued, conserved and documented, the museum’s Collection will once again be on display in the museum. The Collection contains pieces ranging from early items of mass manufacture through to cutting edge contemporary design, furniture, fashion and ceramics.Prototypes, drawings, couture samples, models, first editions and finished industrial objects will be on display, including highlights such as the original Mini and the Moulton bicycle, large scale architectural models like Norman Foster’s HSBC Bank headquarters in Hong Kong, UK road signs and an Anglepoise lamp.

Aaron Draplin - Tall Tales from a Large Man

November 29th, 7:00 pm — 10:00 pm / Begins in 6 days

Prolific American Graphic Designer, Aaron Draplin is coming to London for a one off evening event. Currently one of ther highly sought-after speakers his highly acclaimed talk covers working with clients, from small start ups to President Obama, developing styles, futura fonts, the daily grind, and what it takes to create great work. 29th November, 7pm.buy tickets at http://aarondraplin.eventbrite.com

Screen Social - Catch-up leeds

November 23rd, 7:00 am — 11:45 pm & Thursday 15th December6:00 - 9:00pmTop-Up, Leeds

with Special Guest:

fourfiveX Editions - www.fourfivex.net Catalogue - www.thisiscatalogue.co.uk

December 15th - Catalogue + fourfiveX EditionsfourfiveX is an initiative for independent thoughts, products, art and design. Founded by Alexander Lis and Tim Heiler in 2005.

Design research

December - Monday 5th at 6.30pm.

Event explores the current state of design criticism, so it’s rather timely that the LCC’s latest MA Design Writing Criticism graduates are showcasing as part of the postgraduate design shows. What is proving to be a critical time for both the course and the role of design writing in industry, the show promises to be a significant indication of what the future holds for design. Expect to see a broad spectrum of projects, from studying the critical coverage of fashion objects to a development of ballet criticism, the questioning of what makes a poster to an exploration of the Serpentine Pavillion’s architectural significance. Here you’ll find design writing in a variety of media; letterpress printed books tell the life stories of letterpress printers while visual magazines wander the streets worthy of urban planning. Proving that writing isn’t just in the words, we for sure are keeping an eye on this new generation of design writers.

Find out more from the graduates over atwww.readaboutdesign.org.uk

LCC’s postgraduate design shows run throughout the first week of December with a private view on Monday 5th at 6.30pm.

feature eventsp.21emerge

Emerge: Talent - Student of The Month

Student of the Month does exactly what it says on the tin. We want to showcase the very best in student talent from all over the world, in an exciting monthly feature. If you count technicians amongst your best friends, and if someone other than you can be held responsible for your education, we would love you to submit your work.

Any level of education counts: Foundation, BA, MA, and their international equivalents. We will be selecting submissions on an individual project basis, which means you should be submitting what you believe to be your very best project to date. We are aware, from our own Art School experiences, that projects can vary in scale, format and medium, so here are some submission guidelines…

Text + Links

We need specifics first:– your full name– full course title– place of study– what year you’re currently in.

Next, send through a paragraph (of no more then 150 words) about you, your project, and when the work was made. We’ll be back in touch for more information if you are selected.We also need to know relevant links. If you have an online presence – be it a blog, website, youtube channel, flickr account, tumblr, university portfolio site, etc. – send the information over.

Videos

If you’re submitting a video/moving image piece, please include a link to YouTube or Vimeo. You can also include any relevant stills or process shots, which leads us to….

Images

– a maximum of five images, preferably landscape, at 705 pixels wide. (Portrait images will be subject to some serious cropping.)– all images should be from the same project. If there is only one outcome to your project, you might consider process shots, or a “jazzy angle”.– include them as single attachments within the email, preferably not as zips or pdfs.Lastly, some important things to remember: – you may only submit one project at a time– send in only one project per month– lastly, please refrain from submitting the same project more then once.

When submitting work, please title the email “Student of the Month”, and send tostudentofthemonth@emerge.com.

Emerge Magazine

Emerge magazine was designed and created by Elliot McKellar with the intention to inspire young designers and graduates with the work of others, presenting opportunities for student to have their work published by entering competitions w

Emerge magazine will be printed bimonthly and will consist of different themes within a contemporary design practice. There are so many areas of design people can go into and we want to showcase those different areas and emerging talent in those areas.

Editior - Elliot McKellarStaff writer - Elliot McKellar

Bookshelf - concept from the It’s nice that website, feature was taken, developed and presented in print format.

Typeface

- Futura - medium - Universe - Roman - body copy- Universe - bold - headlines.

Find us online

www.emergemagazine.comwww. flickr.com/emergemagemergemag.tumblr.com

Twitter: @emergemag

Back issues:

Due to a limited number of copies to each magazines avalibility is not always possible, however we try our best to meet the needs of our readers and we will see if we have any avaliable.

For any further questions about us or any other information regarding emerge then feel free to contact us via email or telephone

info@emergemagazine.com0848 483 424

issue 2

The second issue of emerge which is due out on the 1st March will look at print processess in a contemporary graphic design practice this issue will feature Generation Press one of the leading printers in the Design industry and they will be joining us for our bookshelf showcase. We will also be showcaseing some of the new emerging talent in this area who explore the endless possibilities of print and communication.

featuring:

dean pauley mia portersueh li tantom pratt

oliver shaw(catalogue)

rob giampietro(project projects)

www.emergemagazine.co.uk

issue 1 January 2011

project projects

emerge magazine

exclusive Projects Projects poster to celebrate the first

issue of emerge.