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Computer Arts February 2019

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United Kingdom
Future Publishing Ltd
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13 Números


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editor’s letter

This month I’ve had the pleasure of meeting a few particularly disruptive creatives. After his high octane, hallucinatory talk at Us By Night, I talked to Joshua Davis about a potential cover collaboration. A few days later he sent us 150 files the size of small galaxies, which me and art editor Mark Wynne proceeded to lose ourselves in for the following fortnight. The results, I hope you agree, are beautiful, challenging and fun. At the same event I sat down with the Dutch legend Erik Kessels — author of such playful books as Failed It! and Enjoy A Day in the Life of Dick. Head to page 19 for a taste of the man’s thinking. He strongly believes the importance of making deliberate mistakes to discover new creative solutions; to…

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making the cover

We already had legendary technologist Joshua Davis in mind for our disruption-themed cover, when we were lucky enough to catch his show-stealing guest spot at this year’s Us By Night festival (see page 18). His adrenaline-fuelled, expletive-packed geek meltdown had the Antwerp audience entranced, and also gave us a chance to get some idea of what we were hoping he could make for us. Davis is as full throttle in person as his animations are on the screen — in your face, engaged, passionate — and once signed up, he showered us with codes, sequence and masses of cool images. He also tried to explain to us just how these images were being made… “For the most part I create complex compositions using simple systems. In this system, 200 particles get created…

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meet the team

BEREN NEALE EDITOR The editor joined the animal-themed secret santa this year. He offered John Gray’s Straw Dogs to his recipient, who upon opening it instantly realised that all notions of progress are nonsense… Ho, ho, ho. MARK WYNNE ART EDITOR Mark attended Us By Night design festival, in which he aimed to impress the finest design minds in the world with his ping pong skills and trampoline agility, whilst demanding everyone call him Bing Bong. AARON POTTER PRODUCTION EDITOR Midway through this issue, Aaron ventured to Hyde Park’s Winter Wonderland in search of holiday celebration. He instead discovered that London + Christmas + the weekend = a tourist’s nightmare.…

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key contributors

Emily gosling FREELANCE WRITER Emily found it a total joy and a decision-making nightmare to whittle down 15 graphic design game changers for this issue and the next. She thinks you’ll agree they’re all belters, though. Read it on page 58. Rosie hilder OPERATIONS EDITOR, CREATIVE BLOQ Attempting to abolish her new house’s ‘60s décor, Rosie decided to embark on a painting mission. So far, she has a lot of paint samples, a Pinterest board, watercolour pencils and a ladder. Wish her luck. Production notes PRINTERS TEXT AND COVER CMYK PLUS PANTONE 806 William Gibbons PAPER COVER Precision Special Gloss FSC 250gsm P3–98: Ultra Mag Plus Gloss 90gsm TYPEFACES Trump Gothic West, Akkurat, S-L, Simplo, Kondola and Calluna, Berewyne Bold.…

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food for thought

Diets are undergoing a seismic shift as threatened supply chains, shortened food miles and a demand for more positive action from brands change what people eat and where it comes from. Consumers rarely catch glimpses of breaks in the supply chain — only noticing if the prices are slightly up on their favourite vegetables, or if bananas are greener than normal. But with climate change wreaking havoc on formerly reliable crops, our food supply chains are more insecure than ever. Sayed Azam-Ali, CEO of Malaysian-based foundation Crops For the Future, says: “We’re addicted to four big crops: soy, wheat, maize and corn”. The question is, he says, whether we want to rely on these same four crops to feed the entire world — especially as the population inches ever closer to…

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a time and a place

Our studio is in an area of Sheffield called Kelham Island. Recently Kelham won a Best Neighbourhood award, and you could say it’s the closest thing Sheffield has to an independent arts/food quarter. Part of the reason for the award was the natural way the area has developed – no massive injection of cash, no turfing out of residents or businesses. That’s why it felt good to us. It feels like we’re at the start of something, and we can help define the future of it too. The studio space we have here is massively personal to us. We worked on it with our architecture partner and client Teatum+Teatum, and the whole process sent us on a year-long rediscovery of who we are and why we make what we make. We were…