It’s Nice That Issue 4

Alex over at the lovely It’s Nice That just dropped us a line to let us know that the fourth issue of their magazine will be available to pre-order from today. The magazine comes out on October 1st, and everyone who orders before then gets a rather splendid James Jarvis two-colour screenprint. Content includes interviews with Nick Knight, Neville Brody, Miranda July, Trokia, and Noma Bar; features by Sara De Bondt, Adam Buxton, Adrian Shaughnessy, and Jez Burrows; as well as tons of work from the likes of Michael Landy, Rui Teneiro, and Peter Grundy.

All yours for just a tenner. Nice indeed.

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M is for Men

We’re a bit late with this one, but you’ve still got just over a week to catch illustrator James Graham’s little show M is for Men at House of Propellers. James does a lot of work for Esquire magazine, and this show features a selection of limited edition silkscreened and foil-blocked prints based on the illustrations he’s done for the magazine. The foil-blocked prints (below) are especially tasty, and at £25 a pop, great value. You can also pick up a single colour print called M is for Men for a donation of just £1! Brilliant.

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The Art of War

We were doing a bit of research this morning, and stumbled across a really fantastic archive of wartime poster art and illustration, courtesy of the National Archives’ Art of War online exhibition. There’s a wealth of beautiful stuff on display, featuring a lot of original artwork, including Patrick Keely’s 1940s Road Safety poster (above), a Carless Talk Costs Lives poster by Reeves (below left), and Reginald Mount’s Hawker Hurricane poster (below right).

That then reminded us to post about (and order our own copy of) Paul Rennie’s rather lovely book Modern British Posters, published recently by Black Dog Press, which features a vast range of 20th Century British posters, including the three below.

Mmmm. Posters.

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Free Veer Ts

The good folks over at Veer (the stock image & font library) have recently revamped their site, and in an attempt to coerce us into blogging about it are letting us have five of their Creatives Understand t-shirts to give away to you lot, totally free.

We’re generally a bit wary of this blog becoming a mindless promotional tool for PR machines, but we’ve always liked the way Veer works, so we’re happy giving them a quick nod. If you’d like one of their t-shirts*, just drop us a comment in the box below (make sure you fill in the email box) telling us what size you’d like (XS to XXL), and we’ll give you a shout.

They’ve also asked us to mention that they’ve got a 25% discount thing going with their various of their fonts over what’s left of the summer

*First come, first served; one per person; UK only

UPDATE – Thanks for entering folks – competition’s now closed, and we’ll be sending out the t-shirts to the five winners mighty soon.

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200 posters, screenprinted for free…

Print maestro Robert Gaddie dropped a poster through our door yesterday (that’s a detail from it above) to promote a rather tidy offer that he’s currently running on his CrayFish blog: put together a design for a screenprint poster (A2, up to 4 line colours, to print onto any Colorplan paper you like), send it in to him, he’ll pick his favourite, and print 300 of them, totally free. You get 200, he gets 100. They’ll be printed up in time for Christmas too.

Good eh?

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Limbo

We don’t cover games much here on We Made This, but every now and again a really distinctive game comes along that really deserves a wider audience, and Limbo is just such a game.

The game has recently been released on Xbox Live Arcade by Copenhagen games studio Playdead,  and it’s a truly beautiful experience. The game is a 2D platform game, where the main protagonist is a small boy who awakes in a sinister and gloomy forest. You  guide the boy through the forest, and through a series of increasingly complex puzzles. The whole game is set in a stunning black and white landscape (Jim Jarmusch’s film Dead Man leaps to mind), and the boy is animated like a sort of shadow-puppet Pinocchio, hopping and skipping his way through a world inhabited by giant spiders, gangs of other lost boys, and peril at every turn.

A truly great game – here’s hoping it crosses to other platforms mighty soon.

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A field guide to love & typography

The good folks over at FontShop have just launched their Education page, which features a series of really rather helpful documents about all things typographic.

The first of these, Meet Your Type: A field guide to love & typography, looks at the elements of typography, typeface selection, typographic details and buying fonts (of course). It’s a really good primer, looking at kerning, leading, letterspacing and so on, all written in Erik Spiekermann’s enjoyably quirky style.

There’s a Type Tips document too, which looks at capitalisation, en and em dashes, tabular figures, speech marks (or smart quotes), ligatures, justification and bullet marks.

All in all they work as a great introduction to typography. Take a look.

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Rolling Roadshow posters

We just spotted this rather tasty set of posters on the Trailers page on the Apple site. They’re the handiwork of Olly Moss, and are promoting the Rolling Roadshow We are all Workers film season, which is screening movies in locations where the films where set or shot. Great stuff.

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On yer Barclays bike

So, the much heralded Cycle Hire Scheme bikes have finally docked, and the city’s streets were awash this morning with bloggers, journalists and twitterers (and a few actual commuters) giving them the once over. The general consensus seems to be that they’re well built and easy to ride; that there have been some inevitable teething troubles with the docking stations; and that the absence of a lock and a proper basket is a mistake.

Over at The Guardian, Justin McGuirk has accused the city’s mayor, Boris Johnson, of selling out by allowing Barclays to plaster their branding all over the bikes, as well as all over the Cycle Superhighways, the first of which have also just launched.

Our first thought was, woah, yep, the bikes suffer from having a corporate brand all over them, making them feel like some sort of private company bike fleet rather than actual public transport. How much more elegant would it be if they were simply branded as London Bikes?

They feel like yet another part of the incessant corporatisation of our city, joining the O2 Brixton Academy, the HMV Hammersmith Apollo, Arsenal’s Emirates Stadium and so on. We get that companies want maximum exposure for their sponsorship dollar… but a little subtlety and humility could go a very long way.

On the other hand, this scheme wouldn’t exist without external funding. And there’s a clean uniformity to having a single sponsor on the bikes, which isn’t a bad thing. Imagine each of them with a different advert screaming for your attention. Heck, look at our other forms of transport: the ‘iconic’ red London bus is pretty much a mobile advertising hoarding, as are most black cabs. And tube trains, though refreshingly minimal on the exterior, are bedecked with adverts on the interior, and travel round a underground system that is saturated with even more advertising.

Besides which, the Barclays brand will only stand out quite so starkly for a brief time – give it a few weeks and those frames and mudguards will have been treated to all manner of stickers and stencils.

We do think the front panels (above) are a step too far though. They feature the Barclays logo locked up with the new Cycle Hire roundel, which now joins TFL’s suite of other public transport roundels (below), but uses the official Barclays blue (100% Cyan as far as we can tell). Letting Barclays get their hands on that means they ‘own’ not just the bikes, but part of the city’s transport infrastructure, which is surely a step too far.

On the whole though, the Cycle Hire scheme feels like a very good thing, and it’s going to be interesting to see how it merges into the rest of the city’s moving parts. And we very much like the new information posts (part of the growing Legible London scheme) that accompany each docking station, and feature detailed maps of the local area.

The Cycle Superhighways are an entirely different kettle of fish though. A Superhighway – it sounds like a vast and gloriously uncluttered artery, whisking cyclists through London, unfettered by the fear of becoming roadkill under the wheels of a huge truck. The reality is so very different – it’s some blue paint. Yes, a few tricky road junctions have been altered, but basically, it’s just some blue paint. And more importantly, some blue paint that means nothing. Absolutely nothing. No new rules have been made to say that other vehicles aren’t allowed to drive on it. So as a cyclist, you feel like it’s your space, but none of the other road users really give a damn. It’s going to lead to a whole heap of full and frank discussions at the roadside…

In his article, McGuirk complains that the lane is painted Barclays blue, which means they’ve bought up the very land beneath our feet. But realistically, it was one of the few primary colours left that hadn’t already been used, and refreshingly, there’s very little sign of the Barclays branding on the roads themselves. Even the scheme’s branding (below left), which features the Barclays logo on leaflets and suchlike, appears untarnished on the information posts (below right).

With the Superhighways, we can’t help but feel that it’s a prime case of mismanaging expectations. It’s right up there with the woefully underwhelming River of Fire which we were promised along the Thames on the eve of the new Millennium. The crowds packed the banks of the river that night, full of wide eyed anticipation. They were rewarded with a few fireworks on a barge. If the Superhighways hadn’t been oversold with such a grand name, then perhaps we wouldn’t feel like we’d been given such a damp squib…

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The V&A Fete is dead – Long live the V&A Summer Camp

After ten fantastic years, the annual V&A Summer Fete has evolved, and its new incarnation, opening this Friday (30 July), is the V&A Summer Camp, “a free two-day celebration of the virtues of self-reliance and resourcefulness that can come through design and making”. It features a series of tents out in the V&A garden, where you can have a go at being a Foley artist (the sound effects guys in movies); create a handmade jumping toy; or submit some of your own typographic work for a critique courtesy of Fraser Muggeridge’s Typography Summer School.

The camp runs from 6.30pm-10pm on Friday 30 July, and 1pm-5pm on Saturday 31. On the Friday evening there’s also a sleepover, with a range of talks, films and events lasting right through the night – you’ll need tickets for that though.

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