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Computer ArtsComputer Arts

Computer Arts March 2019

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United Kingdom
Future Publishing Ltd
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13 Números


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making the cover

The cover of a magazine is still the single most important factor in its success on newsstand, and choosing the right illustrator to create the cover is often a long, time-consuming task. Dozens of potential cover illustrators will be sifted through, from highly acclaimed big-name artists to less-established, newer talents who may only have just started out on their career and have pitched us a CV and a design portfolio. Status is not a factor, just quality and originality. For this issue, we had the unique (and delightful) synchronicity of a mailshot by Tom Redfern literally landing on the CA art desk as the cover idea was being pitched by the editor. Redfern’s lavish, beautifully illustrated (and designed) promo took the form of a small storybook — Earl and Walrus Journey Inwards…

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editor’s letter

Awards season is just around the corner, what with Computer Arts’ Brand Impact Awards call for entries opening on 18 February, and D&AD’s entries closing on the 20th. It’s an important time of the year to take stock and appreciate some of the great work created by the many talented people working hard in the industry… but is design getting fair praise? That’s something we investigate on page 66 in relation to the industry stalwart D&AD Awards. Nobody’s suggesting that the not-for-profit is in any way not totally awesome — a look at its New Blood Shift initiative makes that clear, not to mention all money made from the annual awards goes back into the industry. It’s just that Design doesn’t seem to get as many coveted Pencil awards, or as much…

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CRAIG OLDHAM Craig Oldham goes in-depth on his new, prop-centric book series for Rough Trade on page 10 — the first of which centres on John Carpenter’s cult film They Live. www.craigoldham.co.uk EWA LEFMANN On page 16, freelance designer and musician Ewa Lefmann explains her ability to balance two creative outlets without letting client work fall behind. www.ewalefmann.com MARK BONNER Former D&AD president and GBH creative director Mark Bonner is just one of the insiders shedding light on the not-for-profit awards show on page 66. www.gbh.london BIANCA BERNING On page 82 Dalton Maag’s creative director, Bianca Berning, reveals how the typeface design studio continues to make inroads with modern type in 2019. www.daltonmaag.com PAUL WOODS Paul Woods is the author of a new book titled How to Do Great Work Without Being An Asshole, and over on page 98, he offers an insight…

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meet the team

BEREN NEALE EDITOR Beren (French: Beren) has been both sad and happy this month. Sad as he’ll be saying goodbye to prod god Mr Potter, happy because he knows Aaron will have an awesome time on his new magazine. MARK WYNNE ART EDITOR Seeking climes befitting his Siberian soul, Mark visited Austria over Christmas. And there he found solace in the biting winds and gelid snow that both mocked and mimicked his wintry thoughts… Happy New Year! AARON POTTER PRODUCTION EDITOR The time has sadly arrived for the sun to set on Aaron’s Computer Arts tenure, as he swaps comic sans for comic books by beaming himself over to SFX. He’ll miss his CA brothers, though, if only for the Bing Bong chat.…

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live and let live

who says print is dead? Books and magazines have always had a transformative effect on readers, and few films illustrate this as brilliantly as John Carpenter’s 1988 cult-classic, They Live. And now the film — famed for its scene where leading man Roddy Piper dons a pair of sunglasses and has an epiphany while reading a magazine — is finding new life in the latest project by British designer Craig Oldham. They Live: A Visual and Cultural Awakening is the first in a new series of books from Rough Trade that turns hero props into a physical reality. And for Oldham, it was a chance to work on his favourite John Carpenter film. Having forced the film on a friend back in 2012, Oldham was struck by the idea of realising…

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creative channels

We’re lucky in that our studio is located within the historic grade II listed canal warehouse at Coventry Canal Basin. We’ve been here since 2011, when we first entered the warehouse as a group of freelancers, in what was then an incubation space provided by Coventry University. Since then, we’ve been residents in a number of studios based in this location and we’ve continued to grow, having shared our workspaces with illustrators, designers and developers who we inevitably end up collaborating with. It’s only natural due to the nature of this type of working environment. Working in the warehouse drives creativity in a number of ways. Being nestled amongst other independent art and design studios, we’re able to gain inspiration from the people we’re working alongside and the work their doing, also…