27 Nov 2013


I love this as a piece of moving image, speedy cuts, musical rhythm, the use of colours, graphics and animation are, for me, totally on point. Starring 26 of the world's top models, it's a new video editorial for i-D Magazine directed by Jérémie Rozan of Surface to Air Studio.

23 Nov 2013

22 Nov 2013


A digital billboard in Piccadilly Circus, this is British Airways' cute and clever new ad to promote their Magic Of Flying campaign. With basic GPS technology, the on-screen toddler points to the BA flight passing overhead in real-time with a child's typically innocent fascination, before revealing the actual flight number and destination of the plane in the sky. A cheeky reminder for passers-by weaving through the crowded streets and blocked-in traffic-strikken drivers that while they struggle with cold, repetitive, busy lives, some hundred people are on their way to Barcelona or Amsterdam – that's a fun sentiment, must have been a nice project (and good laugh) for the designers.

It ties in with the theme of hacking too (from DLP 2.2), demonstrating interpretation of data for interactivity.


A good time for some fresh response and perspective, this was a chance to re-present my progress so far and thus to clarify some things. The major point of exploration that came from it, to simplify, was the role of the reader. What expectations we hold as readers when presented with print matter, how we use and treat print and the subsequent habits we learn. In turn, how do these expectations shape the way the industry does print?

19 Nov 2013


Magazine Spotlight #04
The Green Soccer Journal www.thegreensoccerjournal.com

When issue number one arrived back in late 2010, I was so excited – a well-done magazine that addressed lifestyle and design in the context of football, or soccer as they have chosen to call. Recognising the diversity of football fans (which you must remember is without a shadow of a doubt the biggest sport in the country) and that we are not all pub-philic, beer-loving, foul-mouthed hooligans, the magazine presents a modern, mature outlook on the hot sport for a design-conscious audience (and indeed created by design-conscious, well, designers). So it was my perfect magazine and I felt that I represented the perfect readership.

I've purchased the first four issues, each of which highlights a theme to explore and includes valuable, journalistic interviews with some of the biggest names in football and accompanied by beautifully shot photography of unique perspectives away from the matchday furore. And it's very interesting to read, perhaps another good example of nailing an appropriately niche subject and doing it attractively.

However, it's not all good, because the writing and language was rather average, yet the price continued to go up from an initial £4 for Issue One to £8 for Issue Four, before doubling the latter for its current 'revamped' issue Number Five. And that's a bit too much for me and I've refused to purchase it. My intrigue is still very much there, I still want to pick up a copy and spend time with it, but I just think the price hike is too high, and certainly given the quality of what it's been thus far (which I reiterate wasn't at all bad, but fair at 5 or 6 pounds). They claim the magazine has taken a new, progressed direction with higher quality printing and denser issues, but I remain unconvinced. A £16 publication can't make grammatical errors in its own About passage, come on now. (I've underlined the childish error.)

The Green Soccer Journal is a biannual magazine that takes an innovative, cultured and intelligent approach to the worlds most popular sport. The publication includes an eclectic mix of football culture and is built on a passion for the game, something which is shared by all of our contributors.

Displayed in a creative, visually stimulating format, we have worked with some of our favourite photographers, and writers to create a title that offers an alternative view on all things football.

I don't disagree with its cultured and intelligent approach (not sure what innovation it's describing) but the second paragraph is frankly boring, just telling us it's superficially pretty – something I firmly believe, whilst of course important, should fruit naturally from its content and aims rather than an independent consideration point.

To summarise, it's a good magazine and one I would have (and have had) no qualms with, had it not called for higher scrutiny with its new price point, for which I do not think it sufficiently delivers. Shame.

18 Nov 2013


I feel like I've hit a slight wall looking into print, not quite managing to hit any innovation as of yet though fascinating. I haven't looked at video as much yet and think I should reignite that interest and see if can lead me somewhere exciting. I suppose because print and video are so different, it's an interesting juxtaposition of moving image with something that is by definition not moving. I've got my new (ish) camera and I should experiment with video for sure. So let me just go do that, bye.

15 Nov 2013


Territories was good and bad for me. Good because it gave me the opportunity to tell my story so far (and to refine it for myself in doing so), but bad because of the feeling I had afterward (although that too is probably good that it's now and not later). I was basically told that the project wasn't 'Goldsmiths' enough, or that's how I received it anyway. And I don't know what to do with that.

I didn't particularly choose this institution for its perhaps atypical priorities of learning or because of its supposed difference. My application process and interview didn't ask me about such compatibility either. I suppose I felt at the time somewhat confused about what was being asked of me. We were clearly told at the beginning to do what enthuses us ourselves, not to serve the needs or desires of the tutors or institution. But of course I simultaneously realise that this is a weighty project that holds high significance in my attainment for the degree, one that will be marked just as any other piece of work I've ever done in educational context. So to be put on the spot and asked by the anonymous member of staff in the audience "Why are you at Goldsmiths if all you want to do is make a magazine?" (or words to that effect), it seemed unfair. After all, it is my interest while yes I am a student at Goldsmiths. Slightly frustrated, particularly given that the initial response from Laura two weeks ago was positive. All I thought I'd done was to produce work following what was agreed in that previous discussion, and now suddenly I've been made to feel as though I don't belong here (also a personal blow having specifically migrated here from medical school where I'm sure I didn't belong.)

However. Whoever that tutor was, I refuse to believe he's stupid – he must have justification in his response, and to add to that, the other tutors seemed not to disagree. I've had a few days, almost a week, to reflect and I think I understand what was being advised. It's not enough for a final year project at Goldsmiths to simply create another magazine title to sit comfortably in the newsstand. I believe I can deliver that, and make a damn good job of it too, but maybe it's too superficial, not rich enough in original concept? That's not something I'd disagree with, I should absolutely be making innovative steps in the industry and aim to be its spearhead, the pioneer or revolutionary. How, I don't know just yet, but I think that now becomes an acceptable, good project ambition.

So I feel better. But that's not to say I still have further opinion on Goldsmiths' approach. I understand that its priority – dissimilar to other leading institutions – is that work is conceptually strong, stemming from solid foundations of theoretical understanding and societal impact. And I agree with that importance. But I get the feeling that the disciplinary learning, the skill sets and degree of execution are too lowly prioritised, mocked at times. This doesn't make sense to me. Designing something nice and pretty for the sake of designing something nice and pretty has little worth, that I agree with and accept, but the ideologically sound projects that we are encouraged to generate should still be finished to as high a standard as the professional industry (and other leading institutions) do. The priority should be both, no? One or two weeks of Technical Studies per year seems ridiculous. Of course my argument is becoming broader and less focussed now, but it forms part of my response to my project not being sufficiently 'Goldsmiths', whatever that means. Making another publication that is beautifully laid out and aesthetically pleasing is not good enough, for sure (but it's not to say that the outcome shouldn't be a beautiful artefact – it really should). To fulfil my expectations as a student here, and to genuinely produce more exciting work though, I understand there must be something new that I create. That's my challenge. I must still satisfy my own needs and my own interests, but I must also show as much as possible proof of my understanding and learning from my time here at Goldsmiths. There's a challenge I accept, does that sound reasonable to you?