We've recently produced a series of five videos about the Porto Design Summer School Editorial Course. In addition to a general overview video, there are four more detailed ones that cover the city, the participants, the programme, and the turors. Last year was hugely successful and the 2nd edition of the summer school takes place this July. The principle tutors will be Jessica Helfand, Hamish Muir, and myself. There's also a possibility of a special guest tutor arriving in the second week. The deadline for applications is May 4th. For more details please visit the summer school website.
In memory of a strong, vibrant, elegant woman of France, our mother, born in 1921 and who passed away on the 5th February 2014.
After the success of last summers Editorial course, the July 2014 edition is now open for applications. Last summer we welcomed students and professionals from the USA, Mexico, Brasil, Portugal, Turkey, India and Thailand. The course has European accreditation of 4 ECTS credits and applications can be made here. The deadline is May 4th.
The London-based AVA Publishing (headquarters in Switzerland), specialising in Art and Design books for a predominantly educational readership, has built up a series of interesting titles over the years. Among them Visual Research: An Introduction to Research Methodologies in Graphic Design by Ian Noble and Russel Bestley, Visible Signs and Left to Right: The cultural shift from words to pictures by David Crow, and Good: An introduction to Ethics in Graphic Design by Lucienne Robert. Last year AVA were purchased by Bloomsbury Publishing, London.
Shortly before the buy-out I was invited by Lucie Roberts (then Art Director at AVA) to design an upcoming book about Illustration, and later another one about Fashion and Textiles (published under the Bloomsbury name). Becoming a Successful Illustrator was released in June of this year, and Sourcing and Selecting Textiles for Fashion, already printed, will be out shortly.
These sorts of books always have a degree of complexity related to the range of text and information elements they carry, with the design of the navigation scheme of particular importance. Each one took six months to complete through a process of predefined production stages.
Designing the books was a prime example of 'working from a distance'. In the Fashion book – with me in Portugal – the editor was in London, the print manager in Hong Kong, and the author in New York – in today's world a common and largely unproblematic arrangement, although I remain curious about how physical meetings might influence the dynamic and the course of projects.
Below is the cover design I submitted for the illustration book. My only limitation was to follow a very simple template which specified the dimensions of a box for the title and the 'creative careers' identity on the top right corner. Rather than use the work of one illustrator on the cover, which seemed innappropriate considering the general nature of the book and the range of examples used inside, I decided to use a mix of work by different illustrators. In the end however, the publisher decided to commision an independent work by a freelance illustrator for the final cover design.
Below, the final cover with an illustration by Steve Simpson.
The Fashion and Textiles book also experienced a turn-around with regard to the cover. I had been asked by the editor to browse the Victoria & Albert Museum Photographic archive to see if I could find an image for the cover. I selected the one below because of it's dynamic composition, the fabric pattern, and the strong black shape of the umbrella which I could use to contain the title. The design was accepted but when it came to ordering the photo problems arose and a substitute image had to be found.
The final cover uses an image that in all honesty I would not have chosen for a range of reasons but as designers we don't always get the final word.
Images of the page layout will be posted in the portfolio section shortly.