• Symbol2

    Symbol (cover)

  • Symbol3

    Symbol (spread)

  • Symbol4

    Symbol (spread)

  • Symbol5

    Symbol (spread)

  • Symbol6

    Symbol (spread)

Graphic Design

Angus Hyland and Steven Bateman: Symbol

Posted by Will Hudson,

Pentagram partner Angus Hyland and freelance writer Steven Bateman have recently released their latest book, Symbol. Featuring over 1300 symbols and organised into groups and sub-groups according to their visual characteristics the book features short introductions to each chapter with expanded captions providing information on who the symbol was designed for, who designed it, when, and where appropriate, what the symbol stands for. Eager to know more we caught up with Angus Hyland to find out more…

Where does the fascination with symbols begin?

At an early age I became aware that we were living next to a Shell garage. I thought that it signified our closeness to the sea (we lived in Brighton). It is scary how far brand recognition precedes literacy by some measure.

How does the process of putting a book like this together work? How many symbols did you have in mind before you started and how many did you discover as a result?

I must confess with this kind of book I am so reliant on the goodwill and hard work of my collaborators. Steven was responsible for the lion’s share of the research for the book. I defined the structure and case studies that punctuate the vast array of graphic marks.

What do you hope the audience will get out of the book?

Clearly this is a reference book but hopefully it is more than that. When seen isolated from their context and applications these symbols have an innate beauty. By grouping them according to type one removes their meaning and they can be seen gently amorphous across the pages and then they become not just individual symbols and the book as a whole has a value greater than the sum of its parts

Not wanting to ask you for your favourite, so instead, what makes a successful symbol and how do you try and incorporate this into your work as a graphic designer?

Firstly any symbol is only as successful as the brand it represents – its value comes by association. However above all else a good symbol needs to be an honest representation of the brand. My three assets that all enduring symbols have are that they must be; Candid, Memorable and Elemental.

Laurence King have also released a number of short films from a talk Angus gave at the Design Museum. Featured above is Part 1. To see all of them, check the vimeo.

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

    German design studio Hort prides itself on being an “unconventional working environment” and a “place where work and play can be said in the same sentence.” In this video by Analog Mensch Digital, Hort’s much-loved creator Eike Konig talks about their work and ethos whilst rolling paint and printing a poster. The camera wanders about the studio past leaning bikes and big white desks, scrolling up bookcases and dwelling on the Anthony Burrill posters gracing the walls. Eike is always worth listening to, whether he’s musing on the differences between international and German clients, traditional and digital work and the morals of design. He says: “Visual language is a strong language. We have responsibility in the use of this power.”

  2. List

    It seems that Jacob Klein and Nathan Cowen are incapable of turning out a dud project. From their humble beginnings as a meticulously curated stream of stunning imagery to their present guise as multi-faceted design and art direction agency, the Haw-Lin boys just keep on coming up with the goods. This might not seem surprising to devotees of their original Haw-Lin blog, but it’s surprising how often arbiters of style lack substance. Not so for these boys; their fanatical eye for detail goes beyond simple aesthetic curation, extending into a portfolio of capsule collections for fashion brands, editorial shoots for the most erudite magazines and immaculate lookbooks that manage to add depth and pace to publications that can often be painfully bland.

  3. List

    I always think that creating the identity for a design conference is one of the most thankless commissions around – all those attendees ready, willing and able to offer informed and immediate feedback. So when we see it done well it only seems to right to give credit where it’s due, and Build did a fine job for this year’s TypeCon gathering.

  4. List_copy

    In the introduction to his exceptional new Erik Spiekermann monograph, Johannes Erler sums up “Spiekermann in two sentences” by way of this quotation: “I’m totally chaotic. I’m so untogether, my left leg doesn’t even know what my right leg is doing. I need order. I need systems. I don’t really do anything without a design grid.”

  5. List_2

    Their website is a combination of fluorescent colours, textures, media and effects so hectic that you can’t help but surrender yourself to it, but it’d be foolish to assume The Royal Studio’s design work is as chaotic as it appears. Behind the madness is a method which elevates their vibrant, contemporary design beyond the realms of trendy and into something actually very interesting, whether it’s an Honest Manifesto which claims that “everyone loves titles and captions” but they “don’t give a fuck about content” (repeated to fill) or a very well-executed poster advertising the studio’s 15-day tour around cities including Zagreb, Ljubljana, Dijon and Porto. The fact remains that Portugal-based Royal Studio are taking conventional graphic design and turning it on its head to see what happens, and we’re really enjoying admiring the results.

  6. List

    Of all the design disciplines, typography is almost certainly the least sexy. But Dan Rhatigan is one of the people who is able to talk about type in an engaging, and very human way. Earlier this year the Monotype type director worked with Grey London on Ryman Eco, described as “the world’s most beautiful sustainable font,” as it uses 33% less ink than the likes of Arial, Times New Roman, Georgia and Verdana.

  7. Tumblr_n4iq1a8swj1qdf776o1_1280

    Anyone you know a downright sourpuss? Treat ‘em to a link to work by Hungarian designer Anna Kövecses. Here at It’s Nice That we give high praise to work that is candy-coloured and cute – as long as it never falls under the tasselled umbrella of “twee.” Anna’s work is a perfect example of that as beneath the childish exterior lies a wealth of design knowledge and style.

  8. List

    In the year-and-a-half since we first featured Belgian designer Vincent Vrints on the site his fortunes have risen with the quality of his work. We were always enamoured with his canny ability to create aesthetically astounding imagery and merge it with equally appealing layouts, but he’s refined his process and embraced some new digital techniques resulting in a portfolio that floats between the retro and the ultra futuristic.

  9. Main8

    Google Jack Kerouac’s The Dharma Bums and almost every book cover design that appears either depicts someone hitchhiking or it has the aesthetic of a grotty travel diary of someone who’s been “finding themselves” along a motorway for a month or two too long. Kerouac’s novels don’t even need covers, right? They’re stand-alone pieces of literary genius. Big applause is needed then for Copenhagen designer Torsten Lindsø Andersen who has taken the rulebook of second-rate Kerouac book design and thrown it out the train window on to the track where it belongs. These ambient, sterile designs he’s proposed for the author’s back catalogue are the perfect fit to the words within: weird, unpredictable, drunk and unique.

  10. List

    I am a big believer that every magazine should be able to sum up what it does in a few words. New title The-Art-Form does just that with the pithy statement that it’s “a limited edition publication about art and artists.” Issue one features six artists – Ian Davenport, Peter Liversidge, Rana Begum, Dan Baldwin, Michael Reisch and Paul Insect – and each has been asked 13 questions ranging from why they make art to their favourite place. The answers vary not only in tone and subject matter (as you’d expect) but also in form, so while Ian has provided handwritten answers, Michael, Dan and Rana have created paintings, drawings and sketches in response to the questionnaire.

  11. List

    Over the last few weeks we have been exploring how Shillington College are revolutionising design education through their own model of practically-focused graphic design tuition. We talked to the teachers about how they put together this new kind of course and to those employers who have found the college to be an invaluable resource of young design talent. To round off this series of features, we went along to the London Graduation Show a few weeks ago to chat to some of the students about their experiences, so rather than hear it from us, best hit play and hear it straight from them…

  12. List

    It’s been a couple of years since we headed over to Sweden to celebrate the work of Stockholm studio Research and Development but in that time art directors Daniel Olsson and Jonas Topooco have kept the great work coming. They’re a versatile pair who pride themselves on working closely with their clients to produce design work that plays to their strengths without losing sight of the brief in a blaze of self-indulgence. Anyone who can make a publication for the Swedish Environmental Protection Agency look this interesting is always going to get in our good books.

  13. Main9

    Anyone who designs a clock that reminds you to “have a nice day” must be a good person, and it turns out Joe Cole Porter is not just nice, he’s also incredibly good at what he does. His work is the perfect balance of well-informed and actually fun. How many times have you watched through your fingers at corporate brands trying to be fun and ending up just being boring with a healthy dose of wacky? Exactly. They should take a leaf out of Joe’s book and produce design that is cheerful and colourful but intelligent enough to get the job done at the same time – a bit like a friendly builder, or a cheeky plumber. Some of Joe’s most exciting stuff is his record sleeve design, and we hope to see a little more of that in the future.