Author: Igor

  • Newspaper Club, Print’s Not Dead

    Newspaper Club, Print’s Not Dead

    Since 2009, Glasgow-based printing company Newspaper Club has been helping people self-publish their work on newsprint. Inspired by newspapers’ history and tradition, the team behind Newspaper Club decided to open the industry up for non-traditional publishers in order to see how this medium adapts to the 21st century.

    Working with all types of clients – from students and photographers to tech companies like Facebook and MailChimp – Newspaper Club has printed more than 12 million newspapers for thousands of customers all around the world.

    We chatted with Newspaper Club’s CEO Anne Ward and the rest of the team to find out more about their services and they’re also offering 20% off the first order (up to a discount of £100 and until 30 November 2017) to all our readers using the code FUTURE20 at checkout.

    www.newspaperclub.com

    Photos by Newspaper Club.

    When and how did your love for print begin?

    In childhood! Most of us are old enough to have grown up in a pre-digital world, surrounded by books, newspapers, notebooks and all kinds of printed goodness. It’s a medium with an evocative feel and a rich heritage. We want to help print have a bright future too.

    Can you tell us about what made you start Newspaper Club?

    Yes, we felt that rumours of print’s death had been greatly exaggerated. When we used the slogan ‘Print’s Not Dead’ it really resonated with people and it became clear there were a lot of people who were keen to print their own newspapers.

    Our first newspaper was a design project (which won Design of the Year in 2010). Getting this printed proved how difficult it was for small designers and publishers to get a newspaper printed. There’s a lot of technical knowledge required, which can be intimidating and many big printers won’t take on small jobs. We wanted to make newsprint accessible to everyone and have worked ever since to make newspaper printing easier.

    Can you tell us about the different services you offer at Newspaper Club?

    Our main service is printing newspapers to order. You design ’em, we print ’em! You can use software like InDesign, or our own free design software to make your newspaper.

    You can print one copy or thousands, and choose from three handy formats: minis, tabloids and broadsheets. Our business is totally online so you can order 24/7 and we’ll ship just about anywhere in the world. We offer clear guidance and friendly support, so we’re always here to help.

    You’ve worked with some big names in the digital industry like Facebook and MailChimp, how can print support or enrich digital content?

    A few years ago Wired said Newspaper Club is “what happens when the internet gets hold of a printing press.” We think digital and print can work really well together, and it’s exciting to see customers experiment with that dynamic.

    MailChimp use The Chimpington Post as a recruiting tool. It’s a friendly format that lends itself well to MailChimp’s voice, and they clearly had a lot of fun with the design. As a piece of print, it still feels very of the web.

    We printed a lovely broadsheet for Zendesk when they launched their rebrand last year. It was a great way to showcase their playful new visuals in a big format, something that people could flip through and interact with off the screen.

    And then there’s a project like Printed Web, which is literally bits of the internet turned into a newspaper by designer and teacher Paul Soulellis. He’s published 5 issues with contributions from hundreds of artists – the newspapers are moving into the MoMA Library later this year!

    What are your plans for the upcoming months?

    The good news is our business is booming at the moment! We’re expanding our team, looking at some new products and generally thinking about how we can help more people get their first newspaper off to print.

  • Seven Corporate Photography Tips You Didn’t Know You Needed

    Photography is expressive, and whether you are trying to capture the essence of people or nature in your photos, you want to spark an interest in the person viewing your photographs. It’s an art, and getting it right depends greatly on what the subject of the photograph is doing. One of the many photography topics out there is corporate photography: photographing events for businesses as a way to propel them forward and engage new customers. The thing is, corporate photography isn’t as compelling as other topics, like travel photography or portraits. As the person holding the camera, it’s up to you to make sure that your photographs are interesting, eye-catching and compelling enough to bring in new customers.

    The good news is that this is entirely possible. Corporate photography may not be as exciting to be involved in as landscape photography, where you are snapping beauty and nature in its raw form, but you can still take beautiful shots that make a difference to the business that you are working with, as well as your portfolio. All you need are some great tips to avoid capturing a blend of suits. Let’s take a look!

    Image Source

    Creative Angles Are A Must

    There are only so many ways you can take corporate photographs at an event, but when you are charged with photographing a sit-down event, you need to get creative. If you allow yourself to move around, you can catch exciting angles and perspectives, so the shots are less uniform and more vibrant. The photos that you take aren’t just about the subjects; it’s the way that you capture those subjects. So, if there are large floral arrangements at the corporate event, shoot between them with the focus being on the guests but with the added drama of the flowers, too. The event you shoot has to be looked at as if you were the outsider, taking what you want to see and getting a rounded impression of the entire day.

    Have Fun

    “Corporate event” doesn’t invoke images of fun and frolics, but that doesn’t mean that you can’t have fun with the subjects of your photographs. That’s the exciting part about capturing people; landscapes can’t pose the way people can. You’ll get a lot of business owners asking you for “grip and grin” shots, were guests are holding their drinks and stopping for a smile, but that doesn’t mean you can’t take candids, as well. Taking those shots that are posed are great for the main article on a website, or with famous people associated with your business. However, if you’re at dinner, you want to be as creative as possible so that your photos will last. Take candids of staff laughing, smiling at each other in a relaxed and natural way.

    Watch Overhead Lighting

    Corporate dinners and larger events have the potential to take place in an environment that is filled with overhead fluorescent lighting. Conference halls and event meeting rooms are notorious as being places that are brightly lit. Balancing the colour settings on your camera is essential when you go into these places, and a white balance can even out the fluorescence. Bouncing light off the walls can help you to create a more natural colour feel in the photos.

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    Map Your Shots

    When you are in a corporate event, you need to map the shots of the notable speakers early. No one wants to stand around and pose for shots, so you need to be quick and discreet about getting the “absolute must” subjects into the photos. Liaise with a business owner ahead of time, so that you have a list of the shots that are essential before the end of the event. Ask for help from others who can point out the right people to you so that you know you are getting the right shots of the right people before the more relaxed shots can begin.

    Use Natural Lighting

    Most corporate events take place in the evening, but when you are dealing with an event in the middle of the day, you should ensure to capture as much natural lighting as possible and avoid the flash of the camera. You want to produce as many images that look natural rather than it being a clear photograph. This is going to come with the right equipment, too. If there’s an evening event, and no natural lighting, consider the way that the event guests stand. Anyone standing facing the camera head-on will be hit with a red-eye in the photos, but ensuring your subjects are standing side-on slightly will reduce that and still look a little more natural.

    Know “Why”

    You’re taking photos at an event, and these photos are only going to tell the story that you want to convey if you know what the pictures are going to be used for. Are they going on social media? Are they making the body of the business website? There has to be clarity because, without it, you can’t take the best possible photographs. The way you shoot the photos will dictate whether they are suitable for things like Instagram squares or web banners on a corporate website. These things must be considered, as well as the background details – you don’t want to incorporate seasonal imagery into photos that are designed to last all year on a website.

    Faces Can Be Distracting

    Corporate photographs are mostly designed and planned to capture faces. These are faces of industry bigwigs or of people in the company itself, and while faces are essential in corporate photography, they can be distracting. As part of an event, you must catch the bigger picture in your image, and when you want to draw out the professional side of the event, allowing the subjects to blur in the photo can make all the difference.

    Corporate photography doesn’t have to be stuffy or boring; it can be as fun as you would like it to be. Take the time and capture the shots that will be the most compelling, and you can shoot an event successfully.

  • Perfect Productivity: How to Work Smarter When You’re Self Employed

    Working smart is even more important when you’re self employed. Sure, all of us should be putting the effort in when it comes to our job or career, but when you’re self employed, you only get paid for the work that you do and not the hours. For most employees, taking an extra long break or skiving off when they can makes sense as they’re getting paid regardless. But it doesn’t make sense from a self employed perspective. Here’s how you can work smarter and more efficiently to get the most out of your time.


    Image credit

    Get organised the night before

    Most people that work a traditional job will get their stuff ready the night before- their clothes, their lunch and their work bag. If you work from home, it’s tempting to skip this step but it’s something well worth doing. You won’t be wearing a uniform, but some clean, comfy clothes to change into when you get up can get you in a good frame of mind instead of staying in your pyjamas. Preparing a lunch and keeping it in the fridge saves you from having to mess around midday. If there’s any prep you need to do, such as writing a to-do list of tasks then get it sorted the night before, so you’re on top of things and feeling good in the morning.

    Learn shortcuts

    Even something as simple as keyboard shortcuts can save you time when you’re working. Whether its the snipping tool on Mac to screenshot (https://setapp.com/how-to/snipping-tool-for-mac explains how to do this) to using the correct cut, copy and paste shortcuts. If you regularly use softwares, these will all have their own shortcuts integrated into them too which are worth learning. Photoshop is one example of this, it can make designing anything much quicker when you’re not having to manually search the tools that you want.

    Turn off distractions

    Sometimes it can feel like you’ve worked a solid eight hours, but actually, a good two or three of them were spent messing around procrastinating. If you check Facebook between every email you send, have a quick browse of Instagram after every paragraph you write or get up to make a cup of tea every hour then this time soon adds up. If you get rid of distractions and focus on getting through your tasks, you get to finish sooner which is far better than stretching out your working day. Turn off your phone, or put it away from arms reach if you’re in bad habits of checking it. Before starting a task, make sure you have everything you need, and work on powering through it distraction free. It’s not to say you can’t have breaks, breaks are healthy and essential. They give you a chance to stretch your legs and rest your eyes, but it’s no good if you’re getting up every five minutes. You’ll be stopping your flow of productivity.

  • Lisa Laubreaux

    Lisa Laubreaux

    Lisa Laubreaux is a French multidisciplinary creative working across different fields, from illustration to set design. We chatted with Lisa to find out more about her playful works, her favourite projects she’s worked on and plans for the upcoming months.

    lisalaubreaux.fr

    Studio images by Maïa Izzo-Foulquier.

    Could you introduce yourself and tell us about your education and background?

    I’m Lisa Laubreaux and I’m a French illustrator. I was born in Marseille in 1987. After graduating from the Duperré school of Paris in fashion and environment (DSAA Mode & environnement), I co-founded the Super Groupe collective.

    Currently flying solo, I’m now working freelance for a range of different clients (illustration, installation, set design…). Through each discipline, I develop multidisciplinary experiences with an experimental and artistic approach that drive me to use a variety of media and techniques throughout my work. In addition to my usual practice, I also run participatory workshops in museums and festivals always in a fun and educational way, allowing every participant to take over the professional tools of graphic design.

    You work across different fields, could you tell us a little bit about each of them?

    Illustration: I do work for clients (I generally do commissions for the press or PR) and also my personal work. I use the same techniques for client work and personal projects but the subjects of my drawings are different. It’s interesting to have constraints – that way I can discovering new things about my work and my own possibilities.

    Set design: What I really like about set design is working with a team. When doing a shoot, you have to design elements which bring out the best in both the clothes and the model. It’s a question of working with the photographer, stylist and model to create the best possible photo.

    Installation: This is the most fun part of my work because it’s very hands-on. My installations are generally in painted wood so I have to use a jigsaw puzzle and paint. I also love the change in scale. Illustration is a solitary discipline which demands a lot of attention to fine detail, so it can be really nice to work on a larger scale.

    Workshops: In my workshops I give the participants basic elements or templates to complete, which allows them to have fun whilst using the tools used by graphic design professionals. I’m keen for the participants to be proud, or even surprised, by the quality of their work. It’s a way, for me, to promote creativity.

    How would you describe your illustration work?

    In my illustrations I especially care about the composition and the balance, working with free materials (charcoal, lead or pencil) before defining the strokes, using the nib or the pencil, and I finally bring into play the digital tools. Drawing inspiration from the popular conceptions and the daily life, I create coloured aesthetics and use a simple stroke to transpose, with a playful touch, the world which surrounds me.

    What are some of your favourite projects you’ve worked on?

    My favourite project was doing shop signs as part of the festival Le Voyage à Nantes “Journey to Nantes”. It was over quite a long period (6 months) and often involved working in a team. I regularly exchanged ideas with the staff of Le Voyage à Nantes, as well as with the shopkeepers. We did a lot of DIY and painting, the atmosphere was really great and I’m really happy with the final result.

    What are your plans for the upcoming months?

    Currently I am working on a children’s book about boats with Fotokino (a wonderful gallery in Marseille). It’s a book-game, which we tried with kids at the Marseille shipyard. I’m also making a giant banana with children from the northern neighborhoods of Marseille and starting a new collaboration with Atelier Bingo. This summer I will create some ceramics with my friend Émil in Luxembourg. We’re going to make big vases with naked women on them. At the moment, we’re sending each other drawings with naked women from space, on the beach, with tigers, etc.

  • Utrecht Instants

    Utrecht Instants

    We’re just back from Utrecht, where we’ve spent 3 amazing days working on a new City Guide thanks to Visit Holland and Utrecht Marketing. Before we publish our full City Guide on our website, here’s a little preview of some of the places we visited and shared on our Instagram profile during our stay.


    The rooms at Eye Hotel, a boutique hotel located in a former eye hospital.


    Some of the beautiful buildings by the Oudegracht, the “old canal”.


    Daen’s, a coffee shop, hotel and clothing store in the heart of the city.


    Miffy, a creation by the late Dutch illustrator Dick Bruna and a symbol of the city.


    The impressive Rietveld Schröder House, built in 1924.


    Koffie Leute Brauhaus, a coffee shop in the southern part of the city centre.