Thursday, 17 April 2014

Natural History Museum seeks designers to help boost donations

London’s Natural History Museum is looking for a design team to help it boost donations from visitors.
NHM
Source: pistolpeet
The museum is looking for a team to create a new visual identity for online and onsite donation channels, as well as ‘innovative, attractive and intriguing’ donation infrastructure at the museum – including donation boxes and countertop boxes.
The call for designers comes after the NHM adopted a new Visitor Donations Strategy, which is attempting to boost online and onsite donations to the museum.
A tender notice has been issued for the project, with a deadline of 1 May for receipt of tenders or requests to participate.

Wednesday, 16 April 2014

Glasgow School of Art team creates Commonwealth Games medals

Jeweller and Glasgow School of Art lecturer Jonathan Boyd has worked with a team from the school to create the medals for this year’s Commonwealth Games in the City.
Gold, Silver and Bronze medals
Gold, Silver and Bronze medals
The gold silver and bronze medals weigh 100g each and feature the Glasgow 2014 Commonwealth Games identity, which was designed by Marque Creative.
Close-up of the Gold medal
Close-up of the Gold medal
More than 1,380 medals will be awarded throughout the Games, which start in July, and each is being hand-made in Glasgow.
Boyd says, ‘I hope I have designed something that stands proud as an interesting and unique object but, more importantly, something that celebrates each athlete’s individual achievement.’
Medals
Boyd worked on the designs with a team from GSA’s Silversmithing and Jewellery Department: Helen Marriott, Andrew Lamb, Anna Gordon, Nigel Munro, Yusuke Yamamoto, Satoko Takemura, Rhona McCallum, Malin Winberg, Shona Guthrie and Michael Pell.
Medals and gifts on presentation tray
Medals and gift on presentation tray
Glasgow 2014 also unveiled designs for the medals ceremonies – including podiums, gifts and clothes for the medal-bearers.

Tuesday, 15 April 2014

H&M's struggle for ethical and sustainable fashion

"We take a long-term view on our business, and investing in our sustainability means investing in our future," said Karl-Johan Persson, CEO of Hennes & Mauritz in a press statement. The Swedish fashion retailer released its 12th sustainability report on Thursday, which coincided with the launch of its Exclusive Conscious and Conscious collections and its alliance with Solidaridad, to achieve a more sustainable textile production chain.

H&MH&M's struggle for ethical and sustainable fashion recently introduced its seven commitments to do more for a sustainable fashion future, known as H&M Conscious, which range from recycling materials, reducing its carbon footprint, using more sustainable fabrics and offering fair living wages to its garment workers. H&M was also recently named as one of the World's Most Ethical Companies 2014 by Ethispehere Institute, an independent center of research promoting best practices in corporate ethics and governance.
"H&M is one of the companies that are honestly trying to make a difference," commented Yolanda Kakabadse, president of WWF International. But what difference is H&M really trying to make?
H&M previously stated that they are willing to sacrifice some of their profit margins in order to develop solutions for long-term sustainable fashion by investing in improved factory conditions and more sustainable materials. However despite this commitment, their sales seems yet to be heavily affected. During the last quarter, sales increased 12 percent in local currencies, with earnings increasing 8 percent. Although H&M did report slower profit growth during its first-quarter earnings report, the company lay the blame on the cost of investing in online expansion and not its investment in sustainable fashion.

Is H&M considering the 'planet's boundaries' with is global expansion plan?

"I hope that H&M will continue to grow and contribute to jobs and development around the world. But to continue growing, we need to consider our planet's boundaries," said Persson in a recent interview. "For the resources that we will still need, we must share them fairly between today's and future generations." However, H&M's commitment to creating sustainable fashion when its fast-fashion business model is based on producing several collections per season and introducing hundreds of new designs per weeks does raise a number of issues with the sustainable and ethical image the retailer is attempting to convey. The Swedish retailer currently produces over 550 million garments each year and expanded its sportswear collection last year, whilst launching its new store concept & Other Stories. H&M also unveiled plans to open 375 new stores by the end of 2014, with its largest store in Europe slanted to open in Rotterdam late fall while entering new markets such as Australia and India. This means that more than one new H&M stores will be opened each day of the year, which questions the sustainability of the retailer's rapid growth.
Niki Janssen, coordinator at Clean Clothes Campaign (CCC) a collective of trade unions, charities and consumer organizations who work to support workers' rights commented: "Although every step H&M takes towards sustainable fashion is very important, as they have such a huge impact as the second largest clothing retailer in the world, they can do more for all their workers producing clothing."
H&M's struggle for ethical and sustainable fashionIn the CCC 'Tailored Wages' report, 50 of Europe's leading companies, including H&M were surveyed. The report examined H&M's work on wages which includes commitments to improving pricing method to ensure the true cost of labor by 2014 and reduction of average overtime by 35 percent, with 90 percent of suppliers perceiving H&M as a fair business partner by 2018 was reviewed.
"H&M will support factory owners to develop pay structures that enable fair living wage, ensure correct compensation and overtime within legal limits. This will be explored by implementing the Fair Wage Method in our role model factories," said H&M in the report. In 2014 the pilot scheme was introduced to three model factories, two in Bangladesh and one in Cambodia, were the retailer has 100 percent buying share.
"Despite the fact that H&M is putting in some effort for living wages, its not very convincing so far," says Janssen. One issue H&M's plan fails to address is a clearly stating a living-wage benchmark. "Although there are many good elements to what H&M has developed, without such a definition it is impossible to create a 'road map' to achieving the payment of such a wage or measure the road map's success," found the CCC report.

"Factory based negotiations will never led to workers earning 'fair living wages' "

Janssen also points out that a lot of H&M's strategy is aimed at encouraging negotiations for fair wages at factory level. "We agree that wages need to be negotiated, but believe that factory based negotiations will never led to workers earning 'fair living wages'." One of the main countries H&M sources its garments from, Bangladesh, official wage board raised the minimum monthly wage for entry-level garment workers from 3,000 takas (38 dollars) to 5,300 (68 dollars) last November. However this amount is still less than the trade union supported minimum monthly wage of 8,000 takas (100 dollars), and a number of factory owners have raised concerns that the wage hike is too high. "A commitment must come from H&M to raise the wage significantly via a benchmark. Such a commitment may open the space in negotiations for trade unions to make wage demands that represent the real needs of workers."
"We are continuing to invest in our customer offering - with sustainability being an important added value," said Persson. The question remains as to who is really benefiting from the added value.
Photos: Clean Clothes Campaign, H&M Unconscious, H&M Image Gallery.

(Monday, 14 April 2014 Fashion United)

Friday, 11 April 2014

Ten mistakes designers make

Design Bridge creative director Asa Cook presents the top ten mistakes designers make. (And by designers, he means himself…)
Mistake
Source: doobybrain
In an industry so cruelly at the unforgiving whim of subjectivity, it’s common for us designers to become tortured, cynical souls self-conscious about our failings and constantly musing on the inherent cruelty of the creative process. So here’s for some light relief. If we’re going to be self-deprecating, let’s do it with a bit of candour. Here’s my top ten of the most common mistakes made by creatives (and by creatives, I mean me).

1. Flogging a dead horse

Sometimes when a client rejects an idea we go back one too many times trying to persuade them otherwise. Learning to tear up your own ideas and come back again with a better one is a right of passage for any great designer. And trust me, I’ve learned this the hard way.

2. Killing a great idea too early

Of course, it works the other way too. If it’s a good thought, let others know and don’t be afraid to fight your corner. Sometimes tweaking, rather than binning, works wonders. We’d have lost so many design classics to the wastepaper basket had it not been for the bravery and tenacity of good designers with a bee in their bonnet.

3. Underestimating yourself

Designers are an insecure breed. This can lead to a lack of confidence when starting a new brief, presenting work or even when selling yourself to a potential employer. But the trick is to learn to love the fear – after all, if it wasn’t so scary, would it be so rewarding? It’s worth embracing your anxieties and the adrenaline rush that creativity provides. Turn nerves into pure nerve and you’ll be surprised at the effect.

4. Bad spelling

A letterform is a beautiful thing to a creative. We don’t write letters, we draw them. So often we’re so focused on the way they look that we neglect to make sure that they’re in the right order, at the despair of every copywriter we work with (not to mention the eagle-eyed client). Just don’t forget that good design can be completely demolished by poor spelling. Get friendly with your dictionary, or failing that find a decent proof-reader.

5. Using a favourite typeface too often

Isn’t it better when a typeface is used because it’s right for a particular brief, not just because we like it?

6. Being precious about awards

Ah, the glory of standing up there, award in hand, eyes ablaze at the prospect of an evening spent drunkenly dancing whilst grinning from ear to ear. But for every victor, there’s a grumpy designer at the back of the auditorium lamenting his loss to anyone who’ll listen. Design awards aren’t the be-all and end-all. There will always be an element of subjectivity in judging design work. The fact is, if a project is the best that you could have made it then you should feel proud to have it in your portfolio – silverware or no. And you’d only leave the award in the taxi on the way home anyway.

7. Missing talent

I’ve interviewed graduates in the past and offered them a placement only to see them get snapped up by another consultancy in a permanent role. When you wholeheartedly believe in someone, you will never regret employing them. (And always, always hire people better than yourself).

8. Getting overly emotionally involved in a pitch

When we win, it’s sheer joy. When we lose – deepest despair. If only we could pitch without exposing ourselves to potential agony. But then would that take the fun out of pitching?

9. Shelf-stacking

OK – so this is one for the packaging designers. We often find ourselves standing in supermarkets, rearranging shelves or displays, making our designs look neat and tidy – drawing confused glances from our fellow shoppers. Some would call this a mistake, I call it good marketing practice.

10. Trying to ‘Apple-Z’ real life

This keyboard shortcut is now so ingrained in our brains that when we accidentally knock over a glass of water we try to ‘undo’ real life. Note to self: keep the keyboard shortcuts to the keyboard, and always have some kitchen-paper handy.

11. Designing inappropriate leaving/birthday cards

When a brief isn’t real, it’s all too tempting to cross the line. Rumour has it that designers have lost their jobs over such things. Leading to more leaving cards, and yet more opportunities for offence. Be careful, and get yourself to the nearest Paperchase if needs be.

12. Poor numeracy skills

Hmm, yes, you’ll have noticed the deliberate mistake here. Ten design mistakes? Well, I’ve never been able to restrain myself from throwing more ideas into the mix. Which leads me onto number 13… no, sorry, I’ll stop there. But in all seriousness, mistakes are what make us human, perhaps even what makes us creative. So maybe we should be less self-deprecating, and a little more accepting of our foibles – after all, don’t we creatives take enough of a beating?  So my advice is this; go forth, make mistakes, fail, come back the next day, learn. But whatever you do, do use spell-check along the way.
Asa Cook is creative director at Design Bridge.

Thursday, 10 April 2014

Twitter says new designs ‘make it easier to express yourself’

Twitter is rolling out new designs for its profile pages that it says makes it ‘even easier to express yourself’.
Twitter
Twitter is rolling out new designs for its profile pages that it says makes it ‘even easier to express yourself’.
The new designs let users use a larger profile photo, customise the page header and highlight their favourite Tweets.
In the new profile design, Tweets that have received more engagement will appear slightly larger, so that more popular Tweets are easier to find.
Users can pin their favourite Tweets to the top of the page. There are also new timeline options to choose – users can now choose to look at Tweets, Tweets with photos/videos or Tweets and replies.
Twitter says it is launching the new designs to a small group of users as well as people who are new to Twitter. It will roll out the new designs to all users in the coming weeks.

Wednesday, 9 April 2014

Zosen & Mina's Inside/Outside show

Barcelona-based visual artists Zosen & Mina Hamada are heading to Sheffield for a site-specific installation and exhibition at the B&B Gallery.
Zosen and Mina Hamada
Although the duo have lived and worked together in Barcelona for some years Zosen was born and raised in Buenos Aires and Mina Hamada grew up in Tokyo.
This Zosen and Mina print has been produced by the gallery and will be on sale at the exhibition
This Zosen and Mina print has been produced by the gallery and will be on sale at the exhibition
They have come to be known for colourful free-form work, and their character-based pieces in particular have a psychedelic quality to them that remind us of the work of Jon Burgerman or Kyle Platts.
Mina at work
While Zosen and Mina are best known for collaborative murals which pop up across Europe, the Americas and Asia, their studio also produces canvas work, illustration, print making, animation, film, sculpture and self-publishing.
Zosen and Mina Hamada
The B&B Gallery has produced a limited run of prints, which will be available for the show.
Zosen and Mina Hamada
Inside/Outside runs until 26 April at B&B Gallery, 95B Mary St, Sheffield S1 4RT
Zosen and Mina Hamada

Art on the Underground pops up

Art on the Underground is launching a pop-up shop at Piccadilly Circus, selling limited-edition prints from artists including Sarah Lucas and Wolfgang Tillmans.
Print Shop
The Print Shop space has been designed by Simon Jones, with graphics by APFEL. The Print Shop identity itself takes inspiration from London Underground signage.
Print Shop
There will be 15 works on sale at the space, all special commissions by Art on the Underground as part of the 15 for 150 project, which marks the 150th anniversary of the Tube.
Print Shop
Other artists involved include Gillian Wearing, Pablo Bronstein and Lawrence Weiner.
Rebecca Heald, Art on the Underground curator, says, ‘Print Shop presents a fantastic opportunity, in a unique and alternative setting, for commuters and collectors alike to own works inspired by the Tube from some of the world’s greatest contemporary artists.’
Print Shop
Print Shop is at Piccadilly Circus Underground station, London W1, from 8-19 April