• Loop1
  • Loop2
  • Loop3
  • Loop4
  • Loop5
  • Loop8
Graphic Design

Accept & Proceed

Posted by Will Hudson,

London based design studio Accept & Proceed have recently finished the design for the annual music festival Loop, based in Brighton and now in it’s third year. We caught up with creative director David Johnston to talk more about the identity.

You have worked on the Loop Festival since it began back in 2007, can you tell us a bit more about the identity for this year’s event.

We have purposely aimed to make each year’s campaign very different from the last, and this is something that will be continued moving forward. The first year the main aim was to establish the brand, and so the campaign very much revolved around the logo. Last year we went punk; destroying the old (digital equipment) to create something new. And this year we have decided to focus again on the logo, but interpreted it as a sound. By starting with an image (the logo), turning it into soundwave, building this as a sculpture and then photographing it with David Ellis, we have created a loop in the process. This also seemed to be very appropriate to the event this year, as the event is not just about digital music, but also animation and moving image with the collaboration with onedotzero.

The music obviously plays a big part in the direction of the identity year on year, is it music you would usually listen to and does that help?

Having a background of being in various bands over the years music is immeasurably important to myself, and also the studio as a whole. We have music on all the time, of all genre’s past and present. We are constantly looking for new and interesting stuff, often asking any new employees and especially student placements to bring in what they find exciting at the moment. In terms of listening to digital music in particular to help aid the creative process, well I don’t think it can hurt, but am not convinced that it’s a requirement. Afterall, Reid Miles managed to create some of the most significant album covers of all time for BlueNote, but didn’t even like Jazz.

The relationship between digital music and moving image is an obvious one, who do you think is doing particularly notable work at the moment?

The relationship is definitely an obvious one, and the line becoming increasingly more blurred all the time. There are a number of artists that are exploring the overlap between digital music and moving image. Some of the work Jamie Lidell was pursuing alongside Pablo Fiasco took the live form and injected real excitement and unpredictability to audiovisual performance. And I thought that the Noise of Art present Booka Shade Live event last year at the BFI was a great idea. And in particular there was a viewing of Koichiro Tsujikawa’s ‘Fit Song’ video for Cornelius, which I though was magnificent, as I do of all the work I’ve seen of his ever since.

What would be the line up at your ideal festival (past and present)?

On a poll from the studio, in no particular we’re going for Jimmy Hendrix, Bjork, Loco Dice, Creedence Clearwater Revival, Radiohead, Burial, Elbow, LCD Sound System, Stevie Wonder, Q-Tip, The Libertines with The Velvet Underground with a special performance to close the festival by David Bowie and Prince performing covers of each other tracks (you said we could have anything!).

Loop takes place from the 10 — 12 July 2009 in Victoria Gardens, Brighton. For more information including the line-up check the site.

Wh-300

Posted by Will Hudson

Will founded It’s Nice That in 2007 and is now director of the company. Once one of the main contributors to the site he has stepped back from writing as the business has expanded. He is a regular guest on the Studio Audience podcast.

Most Recent: Graphic Design View Archive

  1. List

    There’s something about the painstaking perfectionism of type design that doesn’t scream fun and frolics, but Commercial Type’s new webfont showcase is ready to prove me wrong. The New York based type studio run by Christian Schwartz and Paul Barnes is widely-regarded as one of the best around, but the pair have struggled sometimes to communicate the personality of their fonts. Enter the Commercial Type Showcase which they built with Wael Morcos to show off the lighter side of 16 of their creations by way of 16 microsites, ranging from poetry and poster generators to a train schedule board and even a digital therapist.

  2. List

    Lotta Nieminen is one of those graphic designers who is able to creating a lasting impression with her work in spite of it often being incredibly subtle in its approach. In my opinion this goes above and beyond her colour palettes, though they often combine pastel shades with serene muted tones; rather her projects seem to be finished with a kind of nuanced subtlety that resonates long after you first see it.

  3. Main2

    Not much makes us as happy as a brilliant studio churning out spectacular work, but to find out each member is a fantastic designer in their own right is even better. Diogo Potes just got in touch to show us some of his personal work away from his day-to-day collaborative venture, Portuguese design studio Alva Alva. Diogo’s solo work boasts all of the vibrancy, sense of humour and love of hand-drawn elements that Alva Alva has, but also contains a good dollop of personal style. For me, I think his work is strongest when he incorporates photography into his designs – something about choosing off-the-wall shots and enveloping them in rich colours and bold typography is very, very pleasing. Nice work Diogo, keep it up!

  4. List

    Like their counterparts over at Unit Editions, the Viction:ary team has an unerring eye for putting together graphic design books that are a cut above the competition. This stems from their ability to select a theme that is relevant and interesting and (crucially) identify the right creatives to showcase in exploring that subject.

  5. Wadelist

    When showing off a new typeface, most designers opt for the go-to panagram “The quick brown fox jumps over the lazy dog.” On one of the promotional posters for his new font Hardy, Wade Jeffree has plumped for “It’s too easy being a c**t.” In other words, this is a typeface with attitude.

  6. List

    20 years ago in 1994, little known designer Eike König set up his “graphic design playground” Hort, creating a community in the centre of Berlin where creatives could collaborate on ideas and client briefs side by side. Nowadays, the playground is slightly bigger, undertaking work for Nike, The New York Times and Walt Disney among others, but the underlying emphasis on collaboration and experimentation remains exactly the same.

  7. Main

    Political, powerful and poignant (although not always all at the same time), Abram Games’ work earned him a place as one of the 20th Century’s most iconic and influential graphic designers. Notoriously, one of his posters was banned by Churchill in post-war Britain and, although he crafted advertising for the Times, Transport for London and Guinness, his most impactful work was created for noble causes. During the Second World War he designed hundreds of recruitment posters and images discouraging waste, with slogans like “Use Spades, Not Ships” and bold dynamic graphics.

  8. Andrealist

    Sometimes the simplest things can be the hardest to pull off, but that is precisely what Andrea Evangelista’s graphic design achieves with quiet aplomb. I imagine most young creatives would quail at the notion of designing a book titled Trafficking Survivor Care Standards, but Andrea’s work is confident and careful, lending the text the clarity it demands. He lets the content sit in plenty of white space inside its buttercup cover, resisting the temptation to chuck in a bunch of pretty images.

  9. List

    As newspapers change, so the meaning, placement and purpose of their mastheads change too. This archive of Indian newspaper nameplates is therefore a celebration of the beauty and communicative skill that goes into them, and a snapshot of the contemporary news media in the sub-continent – see how the odd editorial email address crops up alongside some pretty historic type treatments. The collection has been compiled by Pooja Saxena, a Bangalore-based type designer who previously worked in Apple’s font team and studied at Reading University’s world-leading Type Design and Graphic Communication school.

  10. List

    Here at It’s Nice That we’re very aware of how often we cover certain creatives on the site, and we constantly make time to search out talented practitioners we don’t know as well as feting the latest work of those we do.

  11. List

    Every year during graduate season we sift our way through an enormous number of grad show identities. It’s arguably one of the trickiest briefs for a young student; creating a comprehensive identity for a showcase of upwards of 100 creatives’ work – all of them with different styles and concerns. Some of what we see is excellent, but many seem to struggle under the pressure of pleasing their peers.

  12. List

    Creating a visual identity to capture an aural experience seems like a near impossible task, let alone when the music is as lustrous and strange as Amy Kohn’s, but Non-Format have succeeded gracefully with their work for her new album PlexiLusso. The USA and Oslo-based team manipulated original photography by Merri Cyr to recreate the ethereal quality of her music, conjuring up a glass-like aesthetic with a hint of abstract surrealism in the form of floating boulders and rippling waves. Don’t be fooled into thinking this is all conceptual nonsense though; they’ve also made an original typeface to mimic the sonorous melodies, using disconnected arcs which resemble the notation of quavers and clefs laid out on the stave, as in sheet music. It’s an oddly alluring combination which creates an impression of Amy’s music before you’ve even pressed play.

  13. List

    Some cracking work here from our friends at Studio Makgill with this beautiful Specials Applied book for our other pals at G . F Smith. The paper company has an unerring knack of working with some of the best design studios around – whether that’s Hamish and his team or the ongoing partnership with Made Thought – and the quality of their promotional material is testament to the importance of creative, collaborative working relationships. This book showcases G . F Smith’s more unusual stocks and through a clever use of cut-outs we’re taken on a journey through a selection of interesting samples.