• Designers Gordon Reid and Callum Stephenson’s World Cup beer mat project began, quite fittingly, whilst celebrating the end of a full on project together by watching
  • football in the pub. “We wanted to develop the idea further and just make the whole tone of the project a bit tongue in cheek. (It’s Nice That)

  • Step into Somerset House’s Terrace Rooms this June, and you will be accosted by a mish-mash of colourful, eclectic and in some places downright bizarre print magazines lining the walls and display cabinets.
  • The exhibition is Print! Tearing It Up, a tribute to roughly 100 years of the UK’s independent print magazine history, from the very first issue of political satire Private Eye through to minority titles of today. (Design Week)

  • ULSTER Bank has revealed new polymer banknotes that will have a design feature unique to currency in Britain and Ireland – they will be ‘vertical’. The notes also feature culinary delights associated with the north,
  • namely a king scallop and an Ulster Glade potato. The designs have received a mixed reaction online, with some speculating on the likelihood of being able to spend them in Britain. (Irish News)

  • Erica Dorn created graphics for Wes Anderson’s Isle of Dogs, her day would start at 8am, and typically involved working on an ever-mounting number of prop designs, showing them to Anderson, and then either getting them approved by the director or
  • going back to the drawing board. Sometimes a design was approved first time around, but other props went through as many as 25 different versions. “My job was like playing a game of Tetris,” says Dorn. (Design Week)

  • With the rise of Netflix and Amazon you’d be forgiven for thinking cinema was struggling. In fact, the industry is the healthiest it’s ever been.
  • Carol Welch, managing director of UK and Ireland at Odeon, has been in her role a year but is still fascinated by how the “tiny screen” is helping her business. (Marketing Week)

  • Marketers are becoming more aware of the scale of their audiences at an international level and Twitter has become synonymous as the hub of conversation around major global events. While a high-end fashion brand might
  • still plough its advertising budget towards Instagram’s buy buttons, there’s no end to the potential for fast-moving consumer goods brands on Twitter. (Campaign Live)

  • Targeting women is not a comms strategy in its own right. With the current momentum around the #metoo movement, it feels like we’re all talking, writing and pushing
  • for gender equality like never before – however, despite the beginnings of a cultural shift, some communications strategies remain stuck in the mud. (PR Week)