Design Bridge celebrate The London Design Festival with exclusive ‘ginstillation’

 No.Ten at No.18

As part of this year’s London Design Festival, here at Design Bridge we’re celebrating Clerkenwell’s rich and historic relationship with gin, as well as the iconic new bottle design for Tanqueray No.TEN.


Until this Friday 19 September, festival-goers can visit our Design Bridge studio and explore our special ‘ginstallation’ to learn more about Clerkenwell’s famous gin trail, and the story behind the most famous man associated with the spirit – master distiller, Charles Tanqueray.


Mixologist Barrie Wilson shows us a thing or two behind the bar at our opening party.


The No.18 cocktail – lovingly created by Barrie Wilson… and drunk by us. We’re a lucky bunch.

Our exhibition uses 10 sections (celebrating No. TEN of course!) to tell the story of gin in and around our beloved Clerkenwell. We begin with a look at the first gin distilleries, then journey on through to the decadent age of Gin Palaces, Jazz, and Art Deco, when the famous Gin Martini brightened the post-wartime gloom and became a symbol of freedom and glamour.


Come and explore our story which includes behind-the-scenes photos, sketches, mock-ups, beautiful illustrations, and models – everything that went into creating the new Tanqueray No. TEN bottle and bringing the brand to life. Guests to the ‘ginstillation’ will also be dazzled by a glittering display showcasing the new Tanqueray No.TEN bottle design and glassware. Inspired by art deco drama, the cocktail shaker, and the liquid’s extraordinary citrus taste, the new bottle truly lets the liquid shine and celebrates a striking gin with striking craft and storytelling.


The party got into full swing.

We’re easy to find, just come along to the Design Bridge reception at 18 Clerkenwell Close, London EC1R 0QN. Our exhibition is open Thursday 18th September 2014, 11am – 7pm and Friday 19th September 2014, 11am – 4pm.

We look forward to seeing you.

TripTrap: Handmade beer from under the Bridge

TripTrap_Crate 600px

So why design our own Design Bridge beer?

Well, we have designed for lots of fantastic brands, from Super Bock to Tiger to San Miguel, so we like to think we know a thing or two about what makes a great beer design.

In a city known for its artisanal brewing, and given how much we all enjoy a cold one at the end of a hard day’s work, it felt even more apt to turn our skills to creating our very own Design Bridge Amsterdam brew.

Trip Trap Beer

Where to start? Naming? Design? Back-story? Our Creative Director Claire felt the best way to get our creative juices flowing was to bring out our healthy rivalry streak. An office-wide competition was launched, with the brief given: “Bring the true spirit and heritage of Design Bridge Amsterdam to life.”

Some entries dug deep into the rich history of our office building, others told a truly original Amsterdam tale, but it was our love of great storytelling that won through.

00000001 2

The chosen route was based on the classic tale: The Three Billy Goats Gruff. Creating our very own legend was truly appealing, but it was Trip Trap (based on the sound the goats hooves made crossing the troll’s bridge) that was chosen to be the name.

Trip Trap Beer

We had our direction, so next elicited the skills of entrepreneurial young brewers – Brewhemoth for collaboration on the project. Dutchman Robert Muijzert (a Project Coordinator in our Client Services Team with a furious passion for brewing great beer) and South African Etienne Marais met during their uni years and saw eye-to-eye on two things: beer and metal.

Their ambition is to create bold, full-flavoured, artisanal handcrafted beers. Unimpressed with the selection offered to the masses (the commercial, easy-going pilsners and lagers) they desire to help people realise the potential of beer and the plethora of flavours that can be created.

Trip Trap Beer

After sampling a selection of their wares, we were blown away by two different brews and ended up choosing them both to showcase what Brewhemoth’s beer is capable of: a fruity, hop-forward India Pale Ale (IPA), and a malt-focused, robust, dark Red Ale. This dual approach also allowed us to utilise our integral Design Bridge brand colours of black and white. Trip Trap’s Pale Ale and Dark Ale were born.

Trip Trap Beer Brewing_2

While the two beers slowly fermented, and waited to be bottled in their traditional Dutch long-neck brown glass, we took the final label design to local screenprinter Paul Wyber. Based in an Amsterdam town house in the Jordaan district, his attention to detail and knowledge of techniques, added another dimension to the label printing. The ground mother-of-pearl mixed into the printing of the white label, makes the ton-sur-ton illustration shine beautifully as it catches the light.

Trip Trap Beer

Trip Trap Beer

Once bottled and labelled, Robert numbered every one of this small-batch brew by hand.

Trip Trap Beer

The end of our tale culminated in a fantastic edition of our monthly “At the Bar” Evening, where the design team of Sam and Alex introduced the process, followed by Etienne and Robert from Brewhemoth, who gave a rich and entertaining insight into their world of artisan brewing.

Trip Trap Beer

Trip Trap Beer

They shared their passion and stories as they have grown from a kitchen-top operation to an impressive backyard Brewhemoth!

Trip Trap Beer

The audience (comprising of the office, friends, family and even a few beer-loving clients) were able to sample the two ales, while getting the story straight from the goat’s mouth. Seeing how an entire product and brand were created, from a simple competition, through design development, to brewing of the beer, the production and finally the launch.

Trip Trap Beer

Trip Trap Beer

Every step of the process has been hands-on, from the milling of the grain to the illustrated goat motif. The craft involved is truly reflected in the final product.

Trip Trap is made by hand, and designed to be drunk.

Trip Trap Beer bottle shots

TripTrap captures the spirit of the studio brilliantly; our joy of storytelling and an irreverent sense of humour. We are truly proud of our first step into the world of beer making… just be wary of the troll-like headache it might induce!


*No goats were harmed during the making of this beer.

*Pictures by Richard Rigby




Fantastic awards from Red Dot and Starpack


After the success at this year’s FAB Awards, we’re delighted to have won a flurry of new awards over the past couple of weeks. We won three Red Dot Communication Design Awards for our outstanding work on Tanqueray® No. Ten, Smirnoff White, and Walker’s Tiger Nuts - its second award win after last year’s Platinum Pentaward. The Red Dot Awards has been running since 1955, awarding agencies for excellent international product and communications design. We’re looking forward to picking these up and celebrating with a drink (or three) at the Red Dot Awards ceremony on 24 October.



Awards book spread

Smirnoff White is an exclusive new variant of Smirnoff, specifically designed for the Global retail travel market. Our design was inspired by the brand’s glamorous past, and the story of the founders’ son, Vladimir Smirnoff, a supplier of vodka to Tsar Nicholas II.
In addition to the Red Dot award, our Smirnoff White design also picked up a Gold Starpack Award, as well as a nomination for Best in Show, which will be announced at the awards ceremony on 30 September. The Starpack Awards are the UK’s premier annual awards for recognising innovation in packaging design and technology. The judges’ comments about the Smirnoff White design were simply: “Gorgeous, all design elements work together.”




Tanqueray No. Ten picked up its fifth award this year, a silver Starpack Award. Now in its 56th year, The Starpack Industry Awards scheme is the UK’s premier annual awards scheme recognising innovation in packaging design and technology.  Our new Tanqueray No.Ten bottle is designed to let the citrus shine, and tell the story of Tanqueray’s gin heritage channeling the iconic influence of Art Deco.  The judges’ comments on our design were: “Shouts 1920′s cocktail. Lovely!”

Tanqueray No Ten seal





Fingers crossed for the Pentawards in October!!!

Friday Favourites


Famous movie characters in LEGO

Stunlock Studios have teamed up with master LEGO builder/designer SuckMyBrick to create these beautifully designed 3D movie characters out of LEGO. See if you can guess each film based on the figures. Found via FastCoCreate - check out the whole range here.



The Unstealable bike

Thanks to Jade for sharing this fantastic design innovation, for the ‘world’s first unstealable bike’. The Yerka Project is about comfort, design and safety, creating a bike with a frame which folds around to become the lock. So if you break the lock, you break the bike. No more carrying heavy locks around! According to their website: “Unlike any other solution to this problem, like foldable or rental bikes, the YERKA® technology maintains the slick design of an urban bike and it’s applicable to any frame shape.” You can sign up to support this design here.



Dan Rhatigan on Type

If you’re a lover of type and interested in the stories behind typographic design, you’ll love these two films featuring Monotype director Dan Rhatigan, that he created with Grey London. He manages to talk about type in an engaging way, and describes the sustainability angle of certain font designs, as well as talking us through his typographic tattoos. Thanks to Jo H for sharing this one, via It’s Nice That. 



Woven portraits by David Samuel Stern

I love photography that has been altered using a different craft (see stitched photographs by Maurizio Anzeri and Mana Morimoto to get my drift). These digital photographs of creative types by David Samuel Stern have been printed, spliced and woven together to create eerie, textured portraits. Found via Ignant.



Uncomfortable objects by Katerina Kamprani

Thanks to Iona for sharing these frustrating, almost anti-designs for everyday objects. The Uncomfortable Project is an ongoing project by architect/3D modeller Katerina Kamprani - her goal being “to redesign useful objects, making them uncomfortable but usable and maintain the semiotics of the original item.” Found via Laughing Squid with more images here.




By the Silent Line by Pierre Folk

For the past few years photographer Pierre Folk has been documenting a fading, disused railway line in Paris – the Chemin de fer de Petite Ceinture - that circled Paris between 1852 and 1934. Thanks to Robin for sharing this one:

“Maybe it’s the changing of the season but I’ve started feeling a little nostalgic about Highgate – the place I used to live in North London. The feeling was certainly amplified after I saw these images taken by Pierre Folk on Colossal.  There’s something magical about the abandoned, more industrial structures you can find, especially when such places are surrounded by the everyday hustle and bustle of a city such as Paris. So much potential in such a unique space – it really kick starts the imagination.




So back to Highgate: there is a similar abandoned railway line that runs through the boroughs of Islington and Harringay – I can highly recommend a Sunday stroll, with regular pub breaks, for the perfect autumnal day.”

Leaving after 20 years: Olof on the best bits of Design Bridge


All good things come to an end… Olof ten Hoorn, Design Director, is leaving the Netherlands after spending almost half of his life at Design Bridge in Amsterdam. Olof will leave us to embark on an exciting venture – he will be emigrating to Australia where he has accepted a job at Cowan and live with his family in his wife’s homeland. We decided to interview him before he left, to find out about his experience of Design Bridge and what life is like as a Design Director.

Olof ten Hoorn

Olof’s career at Design Bridge started in 1994 being a Studio trainee, gradually growing to become a Design Director in 2006. In 2007 he was the proud winner of a Diamond Pentaward for Swinckels (Bavaria) and in 2008 he was awarded Best of Show at the Mobius Awards for the work he designed for Farm Frites.

Swinckels winner of a Diamond Pentaward in 2007

Swinckels winner of a Diamond Pentaward in 2007

Farm Frites winner of the Mobius Award Best of Show 2008

Farm Frites – winner of the Mobius Award Best of Show 2008

Olof also created the new visual identity for dance4life and was a member of the Pentawards jury for many years.



Q: How did your Design Bridge career start? 

A: Design Bridge kind of chose me. I was on a Studio internship at Motion Creation, a Dutch packaging agency, in 1994. At that time Design Bridge wanted to open a Dutch office and the initial plan was that they would merge with this Dutch agency. Things didn’t go quite as planned. Motion Creation ceased to exist. Design Bridge took over some of the staff including the intern. In 1996, after I graduated at the Graphic School of Amsterdam, I got offered a position as a Junior Designer at Design Bridge. And the rest as they say is history.

Q: How would you describe working life at Design Bridge?

A: At Design Bridge you work hard and play hard. I have seen so many people come and go throughout the years but for some reason the spirit of the company has always remained the same. Its a pleasure to work with so many different people from very different cultures (14 different nationalities within the Amsterdam office!) but there is one thing we all have in common: the love for design and the constant drive to be the best in what you do.  This dynamic creativity, coupled with strategic insight, has helped us to win international creative awards such as the Pentawards, D&AD, Clio and Mobius.

Q: What’s a day in the life of a design director?

A: Generally very busy. There are lots of different (local and global) projects to oversee but  you have to be hands on at the same time. Being a Design Director means you have to make sure the team are always creating their most inspired design work every day, keeping us ahead of the game as an agency. Each day is different, but it can include anything from attending a client briefing in Dubai or kick off workshop with the rest of the team, to working in small groups or one to one, to crack a particular creative challenge. I also worked closely with the studio planning and operations guys to ensure that my team had sufficient time to work on projects, so they could dig deeper and get inspired, to deliver their best work for clients.

Pentawards 2007 with Brigitte and Jean Jacques Evrard

Pentawards 2007 with Brigitte and Jean Jacques Evrard

Q: What projects are you most proud of?

A: You would think I’d choose the projects I have won awards with. I realised the other day that I am probably the only Packaging and Brand designer in the world that has won all the different Pentawards. Diamond, Platinum, Gold, Silver and Bronze. But I’m actually much more proud of the projects that have really made a difference. Because of our successful designs many brands have been able to open up new factories providing lots of new jobs in their regions, for instance.

Q: What will you miss most from Design Bridge, besides all the people of course?

A: At Design Bridge they sure know how to party, I will really miss the Christmas parties and Summer Away Days.

Summer Away Day 2013

Summer Away Day 2013

Q: If you had to pick one, what’s the funniest story you could tell while working here?

A: Working for Design Bridge means travelling a lot as well. One day I went on a business trip to Saudi where I had a traditional lunch in a sheep barn and we all had to take off our shoes. Unfortunately the smell of my client’s feet literally brought tears to my eyes.

Q: Any advice for our next Design Director?

A: Work your ass off and don’t be an asshole ;-)


Inspired by Olof’s story? If you’re as passionate about the power of ideas as we are, and you’re after a career rather than just a job, we’d love to meet you. We’re constantly growing, so there’s a good chance you might just have the skills and talent we’re after. Check out our website and the link to the current jobs we have available. We might be looking for you!

Olof, Bonny

Olof, Bonny, Aiden and Jimmy

Friday Favourites


Laser cut paper windows

Artist Eric Standley uses laser cut flat graphic designs on paper, then builds them up layer by layer, to create intricate structural designs that resemble stained glass windows, or kaleidoscopic images. I love a bit of laser cutting and paper craft at the best of times but this is pretty impressive. The film about how he works is fascinating, as he discovered the idea almost by accident. Found via Colossal.



Dan Norris’ film posters at Greenwich Picture House

Dan Norris‘ film posters communicate the films we know and love in a refreshingly edgy way – an interesting alternative to the usual film industry marketing style. We’re proud to have Dan as a member of the team in our London studio (he does this in his spare time) and it’s great to see that his work is on show on at the moment at the Greenwich Picture House.





Shower of poppies at the Tower of London

If you’re in the UK it’s likely you’ll have seen and/or heard about this latest installation at the Tower of London, which was unveiled this week. Created by ceramic artist Paul Cummins and theatre designer Tom Piper, it opened on 5 August, the date on which Britain entered the First World War, 100 years ago. 888,246 ceramic poppies will be arranged around the tower to represent the exact number of British and colonial soldiers who died as a result of WW1. The last poppy will be installed on November 11, the date the war ended, then after this the poppies will be available to buy. Found via Marguerite via Fast Company Create.




Illustration work by Puño

Thanks to Jo H for sharing this cute illustration work by Puño, which was found on It’s Nice That. There’s quite a diverse range of work, from children’s book illustrations to darker comic work and short films, but it all has a lovely sense of humour about it. How many other artist’s work can you think of that includes bananas and pineapples smoking fags?  Check out his Tumblr for recent work.





Claire Parker reviews Amsterdam city’s new identity

claire_parker small

Claire Parker, Creative Director at our Amsterdam studio, is part of the online ‘corporate design panel’ of Marketing Tribune magazine, so every month she will judge a corporate design, together with Tom Dorresteijn from Studio Dumbar and Stefan Pangratz from VBAT. This time the design panel was asked to judge the new visual identity of the City of Amsterdam created by Eden Spiekermann. Here’s the link to the online article and we’ve translated it here:

The Dutch newspaper De Telegraaf posted a short blurb on their website about the logo update, also mentioning the cost involved. That post created quite a ripple on social media after which the traditional media also picked up on the story, mainly focusing on the costs of the new update. Eden Spiekerman’s Creative Director wrote an open letter to explain the new visual identity and the costs that were involved.





Edo van Dijk says: “we’ve created a completely renewed visual identity with new applications, tools, grids and guidelines, but we left the logo virtually unchanged.” And Hanane Lechkar, spokes person for the City of Amsterdam about the efficiency of this change: “Among other things we’re going from 250 different types of envelopes to a maximum of 25 types of envelopes, to one unified letterhead and to one type of fleet marking. By doing this we can purchase items in larger quantities which makes them cheaper in the long run.”


Eden Spiekermann worked on this project together with the design agency Thonik. They were also jointly responsible for the city wide identity system which was introduced in 2003.

Claire Parker, Creative Director Design Bridge: “There has been much debate on this branding update, with all the usual sensationalised headlines. Public design projects are often placed under scrutiny, as it is difficult to quantify the rigour, intelligence and craftsmanship that goes into creating an extensive identity system – especially to those with little knowledge of design. Perhaps it is something governments could discuss more openly? More of a dialogue, could surely help address the issue of branding updates being seen as just ‘expensive logos’.

We must acknowledge however that part of the challenge here was of course created by their previous work in 2003, the rebrand now making much more sense, rather than the proliferation of icons they originally created. With such a large-scale identity system, often the best you can hope for is something distinctive, that fits together without drawing attention away from the subject matter. That’s what they have achieved at their second attempt, solid problem-solving design. Nothing spectacular but deceptively hard to do well.” Score: 6

Tom Dorresteijn, ceo Studio Dumbar: “The storm of protest on the logo is particularly an example of the ‘mediacracy’ we live in. The budget spent was not only for a simple alteration of the logo, but for the entire project. But of course, blunt (or actually false) statements attract a wider audience. In the meanwhile this project accomplished a good cleanup. Completely in line with the spirit of this time; more streamlined, more efficient and clear-cut. The design fits the spirit of the mission they had. It’s all well crafted and clear. However, something seems to be missing in the charisma. It looks good but lacks character. It could have had a bit more of the Amsterdam ‘edge’.” Score: 6,5

Stefan Pangratz, Creative at VBAT: “Hard to imagine the headlines of the „ Telegraaf” if the City council of Amsterdam had taken a really bold and visionary step regarding its Visual Identity. With the ambition of being the “Creative Capital” in mind, one would expect a more outspoken step, keeping in mind the role of creativity and innovation for Amsterdam and the Netherlands as a whole. An interesting example of visual identity for a city is the one of Melbourne with its faceted and colorful ”M” as the center-piece. The usual reflex of the media to bash money wasting projects seems strange in this specific case which was based on cost saving and efficiency.

In terms of design, I think they succeeded in making the identity clearer and more iconic thean before. An extra bonus point goes to the agency for the approach they took in explaining their steps. I sincerely hope it has helped people to understand the benefit of the identity change.” Score: 8

Catch up with… Fiontán Moran – Assistant Curator at the Tate Modern


Fiontán Moran

 Photograph of Fiontán Moran –  by Hannah Smith

At Design Bridge we like people who think outside the box – or in this case, think inside the black square. Kazimir Severinovich Malevich (1879 –1935) was a Russian painter and art theoretician who lead the way for the Avant-gardeSuprematist movement alongside some of the most politically turbulent history our world has seen. He’s a pretty important guy when it comes to geometric abstract art and there’s a price tag to match – we’re talking a casual thirty million plus, so best start making packed lunches if you’re thinking of investing.

Nearly eighty years on from his death, the Tate Modern have united his works from across the globe to form his first full retrospective on UK shores – and cor blimey, it’s a good’un.

So, I headed down there to catch up with the boy with the pearl earring, Fiontán Moran (Assistant Curator at the Tate Modern) who worked on this exhibition, for a private tour of the show and an afternoon natter over a cup of tea.

In one word can you sum up how you are feeling about the show?


How long was it in the making?

Approximately 4 years from beginning to end.

How would you introduce the show to someone who knows nothing about Malevich?

Kazimir Malevich is considered one of the most important artists of the twentieth century, whose painting of a black square on a white canvas became one of the most iconic avant-garde works ever made. Working in Russia, he not only influenced his contemporaries but subsequent generations of artists, designers and musicians from Donald Judd to David Bowie, and yet he is still not very well known. This is a chance to chart his entire journey as an artist, a teacher and revolutionary.

What was the big idea behind Malevich’s first British solo show?

Despite Malevich’s place in art history there have only been two partial retrospectives of his work in the UK: one at the Whitechapel Gallery in 1959 and one at what was then called The Tate Gallery in 1976, although this was comparatively small. By teaming up with the Stedelijk Museum in Amsterdam and the Bundeskunsthalle in Bonn, and drawing on work from the Stedelijk Museum, the Khardzhiev Collection in Amsterdam, the Costakis Collection in Thessaloniki, the State Russian Museum in St Petersburg and many other museums and lenders we have been able to present the most comprehensive retrospective of Malevich ever staged in the UK.

What was the most daunting aspect of curating this show?

There are 420 works in the exhibition, so in terms of planning and organisation that was quite daunting but it all worked out ok.

What role did Russian History play for you during this process?

Malevich was the same generation as most of the Russian revolutionaries (Lenin, Stalin, Trotsky). He experienced the move from a Russian Empire governed by an autocratic king, through the revolutions of 1905 and 1917, to the creation of the first Communist State; and he died just as Joseph Stalin began his ‘great purge’. So it’s a very dynamic and volatile period in history and the art goes on a similar journey.

What’s behind the title – Zero.Ten?

The title ‘0.10 [Zero.Ten]’ comes from the exhibition where Malevich launched his new artistic style that he called Suprematism. The idea was that with his new non-object-based work (epitomised in his painting Black Square), he was creating a new type of art. In the pamphlet that he published for the exhibition he proclaims: “I have transformed myself into a zero of form and gone beyond ‘0’ to ‘1’.” The number 10 was a reference to the amount of artists who took part in the exhibition although there ended up being 14 in total.

During the process what have you learned about the man Malevich?

I learned a great deal. Malevich was someone who really wanted to be a modern artist and contribute to all of the new discussions about art and culture that were occurring in early twentieth century Russia. He also wanted to ensure his place in history was secure, publishing texts on art and creating teaching charts, so that even in death his most famous art work, Black Square was placed on the front of his funeral car. During the installation I also discovered how painterly a lot of his abstract works are, which you sometimes don’t notice in reproductions, so being able to see so many of his works in the real in a special experience.

Tell us something that we wouldn’t know about the show if we went to see it?

There is a painting called The Woodcutter (1912) that has a painting on the other side of the canvas called Peasant Women in a Church. This is normally exhibited against the wall, but when we saw how interesting the painting on the other side was we wanted to find a way to show it. So we ended up securing it to a pedestal and placed a mirror against the wall so that you can get a sense of the other work, but also how quickly Malevich moved from one style of painting to another.

How did all the artwork get to Tate Modern on the South Bank?

Our fantastic registrars organise all of the transport of the artworks, which arrive to the Tate building in secure climate-controlled trucks. There were 41 lenders to our exhibition from 11 countries, plus 28 art couriers accompanying individual works, so there was a lot of activity.

What’s the average day in the life of a Tate assistant curator?

Every day is different and you have to be the conduit for many departments throughout the whole of Tate and know everything that is going on. Over the course of an exhibition project you carry out research, contact museums and lenders, work on the catalogue, the exhibition layout amongst many other things. We also organise film screenings and performances, while other assistant curators work on acquisitions to the Tate collection.

Have you ever nearly dropped a masterpiece?

Luckily for the public I’m not allowed to carry any of the artworks as I’m not a trained art handler. So they are all in the safe hands of our art technicians.

What advice would you give a younger Fiontán?

Make the most of every opportunity and follow your instincts.

If you could have any artist, alive or dead, paint your portrait – who would you choose?

I’d actually like a line-drawn portrait by David Hockney or Andy Warhol. For a painting, either Henri de Toulouse-Lautrec or Johannes Vermeer.

Why should people get down here?

I think it’s a very special exhibition that brings up a range of questions about art and how it relates to society and ideas of modernism. There are a range of paintings in different styles, architectural designs and models, set and costume designs, plus a mini retrospective of his drawings too. It is set against a really interesting time in Russian history and offers the once in a lifetime chance to experience work by Malevich from across the world in one location.


Photograph by Andrew Dunkley


Photograph by Andrew Dunkley


Photograph by Andrew Dunkley


Photograph by Andrew Dunkley


Photograph by Andrew Dunkley


Photograph by Andrew Dunkley


Photograph by Olivia Hemingway


In addition to Malevich, since 2009 Fiontan has worked on an array of exhibitions and projects at Tate including A Bigger Splash: Painting after Performance, Pop Life: Art in a Material World, Charming for the Revolution: A Congress for Gender Talents and Wildness, Peter Watkins: The Journey, A Cinema of Songs and People: the Films of Anand Patwardhan and the online project Lost Art. A graduate of art history from the Courtauld Institute of Art, with a special focus on performance art, he is also the writer and designer of the fanzine Death Becomes Herr. A very talented young man indeed.

If you do one thing this summer, get yourself down to the South Bank, grab yourself an ice cream, and then head to the Tate Modern to check out this fascinating show – and it’s safe to say they’ve done a stonking job at encapsulating the spirit of Malevich. REVOLUTION.

Posted on Aug 5th 2014 by · Permalink · Leave a comment
In: Art, Exhibitions, Interviews · Tags: 

Friday Favourites


The Fox’s Den by Zim and Zou

We’ve featured the work of Thibault Zimmermann and Lucie Thomas, aka Zim and Zou, a few times on Friday Favourites. Although we don’t like to repeat ourselves too much, their work is so flipping great we couldn’t resist sharing their latest project. Thanks to Andy K for finding this rather charming window display they created for Hermès, in Paseo de Gracià, Barcelona. Each piece in the display was made by hand – mostly using paper – except for the fox, which is crafted in leather. Found via The Awesomer.





Some lovely examples of street art found via Lost at E Minor, which use the surrounding environment as part of the design. Graffiti using trees, aka Graffitrees..


Above: Nuxono Xän, Fort de France, Martinique

Réa en friche by French artist Vinie Graffiti


“Legenda o wielkoludach” (Legend of the Giants) by Polish artist Natalia Rak

Photos of play from around the world

Thanks to Ellie for finding this post showing some stunning photographs of children playing, in different parts of the world. Found via The Mind Unleashed. 


Children in Indonesia, by I Gede Lila Kantiana

Children in India, by Sandeepa Chetan

Children in India, by Sandeepa Chetan

We are happy by Agoes Antara

We are happy by Agoes Antara

The Chocolate Mill

The Chocolate Mill was a project by Studio Weiki Somers and chocolatier Rafael Mutter, for a retrospective exhibition of Dutch designer Gerrit Rietveld. Built up from ten layers of chocolate, you can watch the mill slowly carve away thin, mouth watering layers, revealing the hidden patterns beneath. Found via Colossal.



How We Move – Human app data

Thanks to Sam W for sharing How We Move:  ”This is a beautiful video showing how we move around cities. The Human fitness app aggregates user data from around the world for a better insight into daily activity, whether it’s cycling, running or walking.” If you’re a bit of a geek and love seeing data displayed in creative ways, you’ll love the detail on the Human website too.


Winners of our first ever 3D Student Awards!

DOG PANEL_600x400

We are delighted to announce the WINNERS of our first ever 3D Dog’s Bollocks Student Awards!

This is the first time we’ve put a separate 3D Branding brief out there aimed at 3D and Product Designers, challenging them to redesign a famous brand. We had some fantastic entries, so a huge thank you to everyone for taking part. The lucky winners are:

Gold: Dax by Sam Harvey

Norwich University of the Arts


Click images to view larger size



Silver: Seabrook Crisps by Jennifer Kealey and Katie Hitchen

Northumbria University





Bronze: Kendal Mint Cake by Kevin McNicholas

Northumbria University




Congratulations to Sam, Jennifer and Katie, and Kevin for their great work – they’ll all receive a Dog’s Bollocks award (crafted and 3D printed in our very own in-house workshop).

Posted on Jul 24th 2014 by · Permalink · Leave a comment
In: 3D & Product Design, Awards, DB Student Awards · Tags: