24 Days of Lever St launches today. A True North project that has seen us turn the side of our Northern Quarter building into a giant advent calendar. Sitting behind each of the 24 windows is a specially commissioned piece of artwork which will go on sale as an A3 print each day. The prints are available to buy from the project website. Just click here.
Read our thoughts
True North, in collaboration with interior design practice Sheila Bird,have brought together a number of Manchester designers and illustrators to count down to Christmas in style, creating a giant advent calendar on the side of 24 Lever St in the city's Northern Quarter.
Behind each window sits a unique illustration, specially commissioned for this project. Earlier this year, we decided we wanted to celebrate the festivities through creativity and collaboration and so went about uniting all of the organisations based within the building, as well as guest illustrators from across the city, to bring Christmas cheer to the people of Manchester.
Each design will be sold as a print throughout December, via the 24 Days Of Lever St Website.
All profits from the print sales will be donated to Wood Street Mission, a charity which helps to alleviate the effects of poverty on local children and their families.
Keep up to date with all the latest designs on Twitter and Instagram or pop over to the office and take a look.
At least once a week, I find myself wandering into Magma, the Northern Quarter bookshop. A small store in the midst of Manchester’s creative hub packed with an artfully curated selection of books and magazines. It's the love of print that drives me there, or more specifically the love of printed media. I could spend hours and hundreds when I get in, much to the amazement of many around me. By now, it's an old debate – why buy magazines when you can find all the same content online?
As a lover of print, it is an argument I often find hard to win. That’s why I was comforted this week after reading The Guardian’s interview with Anna Jones, CEO of British Magazine Empire Hearst. Jones believes that the future of magazines lie in both print and digital – not just one or the other. For her, it’s a matter of catering for consumers and giving them what they want.
Sitting firmly on the print side of the fence, it was not only good to hear but also surprising. With so many companies thinking with their digital first, it was refreshing to hear about an audience led approach.
I agree that different audiences will always require different things and, as with the type of magazines we choose, the medium comes down to personal taste but for me nothing will ever beat a printed publication, whether that is a magazine or a book. It makes me sad to see bookshops and libraries closing down and people sat on the train staring at a screen instead of engrossed in a paperback.
For me it's the interaction with a physical magazine. I look forward to getting home and opening the fresh pages, being able to fold down the corners, circle things I like, and, go with me on this one, I like the smell of the print. I like feeling the pages, I like the way my stack of Vogue’s look on my dressing table and my stack of home magazines sitting under my coffee table.
For those who tore out our favourite pop stars and stuck them on their bedroom wall, for those who always buy a magazine to read on the plane, for those who like curling up on a Sunday afternoon with the glossies from the Sunday papers, the experience of magazines can never be replaced.
Amid all the change, the one constant and important element is that magazines know their audiences and serve them with relevant, useful and compelling content whatever format they prefer. It’s just that for me, that format must always be printed.
The Eric Gill Series presented by Monotype was a great, but seemingly short lived exhibition, showcasing the collection of 77 fonts and the 3 families; Gill Sans® Nova, Joanna® Nova and Joanna Sans Nova.
Gill is one of the most well-known fonts of the era and this exhibition brought together a huge range of sketches, rubbings and hand-cut letters from around the world, each existing as an artifact in its own right, demonstrating the work that went into refining this iconic font...
...From a few personal collections from Eric Gill’s life such as a rubbing of his hand carved letters which he gave to his Father for his birthday in 1913...
To the original self portrait by Gill, along with a collection of objects which have used Gill Sans over the years.
I think that I was particularly interested in seeing the type specimen books and sheets by Monotype, showing how designers of that time were introduced to Gill Sans.
It's easy to take the font for granted, and overlook it in the midst of the myrid of options we now have, but I left with a new appreciation of Gill and knowing I'd never look at it quite the same way.
Continuning our discussions around craftmanship, Designer turned Senior Account Executive, Calandra Pavey makes a case for the humble pen and paper.
It is true that modern design studios depend highly on their software when it comes to creating finished, polished creative work, and that the use of digital tools presents a wealth of possibility when trying to create bigger and bolder concepts. But so many of these concepts still start with someone sat in front of a sketch pad with a marker in their hand, or a group gathered around a table scrawling on flip charts and sheets of paper. This process presents ideas in a format that is loose and adaptable, it opens the door to alternative interpretations, sparking ideas that can grow organically into something brilliant.
By delving a little deeper into of the work currently being generated by creative types, one can often find that lying in their foundations is a tiny doodle on the corner of a napkin, or a scribble on a beer mat. Some of the world’s most highly recognised brand identities started with a sketch. The iconic Starbucks logo started life as a doodle inspired by a wood cut of a Norse two-tailed mermaid.
Whilst social site Pinterest took pencil in hand to modify digital fonts with soft, appealing curves and unique characteristics.
Even when considering today’s animated blockbusters, the majority have fully embraced digital software in order to create masterful pieces of film. Yet some of today’s most beautiful and loved animation is still generated from an infrastructure of sketches. The work of Hayao Miyazaki is an excellent example, with films such as Spirited Away, almost entirely drawn by hand, only using computers to enhance and edit. There is a distinct element of charm within these films, seeing the original sketches that lie beneath every frame is something to marvel at, bringing complete understanding of the craftsmanship and level of detail that enabled its creation.
Drawing can be done anywhere, with anything. If a brilliant idea is sparked on the bus, an old receipt and the stub of a pencil will suffice, allowing that idea to take shape and then later, be explored and expanded upon. Sketches are so often fueled by excitement, passion and urgency to get that abstract idea out of the head and into reality as soon as possible.
Picking up a HB and scribbling on a piece of paper allows the creator to project an idea directly into the minds of others and there is something quite magical in seeing a person’s innermost thoughts flowing out through their fingertips onto paper – that urgency and excitement lost when the idea is locked down and the mouse starts to click.
As technology and software continues to evolve at an impressive rate, it is an increasing challenge for creative types to retain the skill of hand sketching with the question of its necessity arising more frequently. However the value of the craft cannot be brushed aside. The speed at which sketches generate ideas, the open and inclusive nature of a drawing and the sheer sensory enjoyment of putting pen to paper are characteristics that, so far, cannot be matched by a computer.
Zak Boukerrou, True North's Strategy and Communications Placement, is taking three months out of his PHD in Biochemistry to work alongside us on brand and communication projects. Here he begins to explore why this is so important for the future of science.
Science has been key to advancing our quality of life, from great technological advancements through to treating human diseases; it has played a vital role in the human existence. Hence why communicating the impact science has to the general public is essential to its progress. Whether that’s alerting people to the threats of climate change or inspiring future generations to follow a career, effective and engaging communications is vital in any new discovery or development.
The value of communication in science is not a new idea. During 19th century there was a big drive to make science more accessible and popular to the public. The Royal Institute in London was founded in 1799 not only to provide a collective platform to pursue new discoveries but to educate the British public through a series of lectures. It was where Humphry Davy showcased laughing gas to the delirium of the audience who tried it. And where, in 1825 they had the idea to target their lectures during term time holidays to make it accessible to younger audiences. Henceforth, the famous annual Christmas Lecture, merging science and entertainment, which made it engaging, inspiring and most importantly informative. The value of which captivated the BBC who have been broadcasting the event since 1966.
Public engagement remains as vital as ever today with an added emphasis on social and ethical issues. The British Science Festival takes place every year for four days; showcasing events ranging from the discussion of core science to exploring the role it plays in society through theatre performances, having previously been a platform to announce major scientific discoveries. There are also opportunities to get the general public to contribute to scientific research. Mobile apps such as the Great Brain Experiment, created at the University College London, allows the public to contribute to neurological research through a series of mini-games gauging mental health and agility.
There are also initiatives in order to encourage more young people to take up STEM subjects post 16 years. From the late 1980s to 2004, the number of students taking up STEM subjects post 16 years fell greatly but has since been rising. Yet there is still more to be done to convince young people that science is a viable career path and programs such as Your Life and STEMNET are helping to do just that.
In spite of all this, public engagement is still seen as more of a side-project or a hobby rather than an integral part of science. This is due to a greater focus for scientists to ‘publish or perish’ and engaging with the public is seen as unrewarding financially. Wellcome Trust, much like previous examples is trying to change this, and has recently begun providing financial support to public engagement projects.
Engaging the public to science is important in influencing government policy, with regards to our health, environment, and inspiring a new generation of scientists. Without getting the general public onside, the understanding of the key role science can play will get lost and with it, its potential benefits.
Privacy and cookies – © 2019 True North Communications Ltd – Registered No: 04240580