A volume phase holographic grism, a combination of a diffraction grating and a prism. This grism combines a grating from Kaiser Optical Systems Inc. with prism wedges from Janos Technology Inc. and was assembled at the National Optical Astronomy Observatory (NOAO) by Al Camacho and Heidi Yarborough. It is used in the new Multi-Aperture Red Spectrometer (MARS, which is CryoCam resurrected).
Image credit: NOAO/AURA/NSF
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%feed http://redirect.viglink.com?u=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FScience360NewsServicePictureOfTheDay%2F%7E3%2F9iLFpAq5VXQ%2Fhydrodynamic-propulsion-water-striders&key=ddaed8f51db7bb1330a6f6de768a69b8 Hydrodynamic propulsion of water striders
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A freshwater spider (Dolomedes) runs along the water's surface, leaving vortices behind its four pairs of stroking legs. In this National Science Foundation-supported project, dye studies were performed in order to determine what the propulsion mechanism is of the water strider (Gerris remigis), a common water-walking insect, approximately 1 centimeter long that resides on the surface of ponds, rivers and the open ocean.
Image credit: Courtesy John Bush, MIT
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%feed http://redirect.viglink.com?u=http%3A%2F%2Fredirect.viglink.com%2F%3Fu%3Dhttp%253A%252F%252Fwww.slate.com%252Fblogs%252Fbrowbeat%252F2016%252F07%252F27%252Fpsa_y_all_y_all_is_second_person_plural.html%26key%3Dddaed8f51db7bb1330a6f6de768a69b8&key=ddaed8f51db7bb1330a6f6de768a69b8 r0B0t: PSA, Y'all: “Y'all” is Second Person Plural
Headlander, the newest game from Double Fine and Adult Swim Games, is a charming mix of '70s sci-fi themes, Metroid-style gameplay, and the kind of weirdness that has always characterized games from both companies. It also has a character named Earl who completely kills any suspension of disbelief in the very first seconds of the game, which you can watch above. Here's his dialogue:
And I'm through. Y'all should be hearing my on your helmet radio now. I know y'all got a lot of questions, but there ain't no point in trying to talk, because you ain't got no lungs. Y'all just come out of stasis, so you don't likely remember much. This is gonna be a hard pill to swallow, but—hells bells! Shepherds again! Y'all gonna need yourself a body. Welcome to the future! Ain't much sure why, but Methuselah wants a hold of you. We gotta get y'all off this ship.
For a large proportion of Headlander's audience—and Double Fine's entire staff, apparently—there's nothing about that dialogue that sounds wrong. But for anyone who's spent any time in the South, it's nails on a blackboard. In five out of ten sentences, Earl uses “y'all” to address a single person. Not even a person, actually, but a severed head, making it even less likely Earl is somehow referring to the main character and her family or some other implied collective group: she's literally just a head. This is more wrong than waking up as a lungless head in a space helmet, more terrifying than rogue artificial intelligences or killer robots or any futuristic horrors Double Fine could ever dream up. Maybe it's part of the game—maybe Earl is a bad simulation of a Southerner. Or maybe the simplest rule in southern dialect has somehow been botched once again. I'll never know, because I couldn't get past the beginning out of fear of how Earl might mangle the language next.
In fairness to video game writers, it's not always a hard-and-fast rule. Arika Okrent took a look at the issue for Slate back in 2014, and concluded that the singular “y'all” was occasionally used, in a few special situations: particularly when Southerners exaggerated their speech to get better customer service from Northerners. (I've never heard that, but I've heard the possessive use, as in her example of “How're y'all's grits?”) But even in those rare cases, no one uses “y'all” exclusively instead of “you,” the way Earl does, even in the far distant future. And the one thing everyone agrees on is that Southerners, who actually use the word, are the ones who are most likely to insist it's plural only. So if your character's from the South, odds are he or she is not going to use it as a singular. (If your character's a Northerner who is misusing the word out of ignorance or spite, you're probably doing something too complicated for a video game.) So a good rule of thumb for non-Southerners: just use it as the plural. They still teach Latin at Andover or wherever, right? Or Spanish, at least? Would you use vosotros or ustedes or voi or whatever second person plural you're familiar with? Use “y'all.” Otherwise, just play it safe and stick to “you.” If foreign languages make you uneasy, memorize this handy mnemonic:
If you're speaking to one person, Using “y'all” will make things worsen. But if “all of you” would work, Then it's time for “y'all,” you jerk!
Don't get fancy and don't showboat. You're probably already naming a character “Earl” or something, so you're on thin ice to begin with. So let me address all of you, as in more than one of you, as in plural: Y'all have made sure that anyone who's ever had the slightest hint of a southern accent is an expert in what it's like to have people think you're dumb because of the way you talk, so trust us on this one: Y'all have gotta stop screwing this up, 'cause it's making y'all sound stupid.
%feed http://redirect.viglink.com?u=http%3A%2F%2Fredirect.viglink.com%2F%3Fu%3Dhttp%253A%252F%252Fnews.google.com%252Fnews%252Furl%253Fsa%253Dt%2526fd%253DR%2526ct2%253Dus%2526usg%253DAFQjCNEawYcQUlytvtwDs-OPuT1W1PIDww%2526clid%253Dc3a7d30bb8a4878e06b80cf16b898331%2526ei%253DWliZV5HrIMyL1AaA8JrQDw%2526url%253Dhttp%253A%252F%252Frobohub.org%252Flessons-from-brexit-and-learning-to-better-communicate-robotics-research-and-innovation%252F%26key%3Dddaed8f51db7bb1330a6f6de768a69b8&key=ddaed8f51db7bb1330a6f6de768a69b8 r0B0t: Lessons from Brexit and learning to better communicate robotics research and innovation - Robohub
Lessons from Brexit and learning to better communicate robotics research and innovation Robohub Hilary Sutcliffe and MATTER have been working with the University of Sheffield across a number of departments and faculties to create an agenda for future responsible research and innovation; more than merely putting plasters over public concerns, we ...
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%feed http://thenextweb.com/insider/2016/07/28/wikileaks-releases-hacked-voicemails-from-dnc-officials/ WikiLeaks releases hacked voicemails from DNC officials Just hours after declaring this wasn't the end of leaks that could impact the presidential election — or at least the democratic party, it seems — Julian Assange and WikiLeaks followed through on his statement by publishing hacked voicemails of top democratic officials. The leaked recordings, 29 of them in total, are identified by phone number and total approximately 14 minutes (combined). RELEASE: The DNC recordings https://t.co/OIv1xjpp6c #DNCLeak #DNCinPHL Recordings: https://t.co/TTyre5UIOD — WikiLeaks (@wikileaks) July 27, 2016 The latest release came in the middle of the Democratic National Convention, just 24 hours after Clinton officially became the nation's first female nominee from a…
%feed http://www.npr.org/sections/alltechconsidered/2016/07/27/487605182/police-use-fingertip-replicas-to-unlock-a-murder-victims-phone?utm_medium=RSS&utm_campaign=technology Police Use Fingertip Replicas To Unlock A Murder Victim's Phone
Michigan State University engineers tried 3-D-printed fingertips and special conductive replicas of the victim's fingerprints to crack the biometric lock on his Samsung Galaxy phone.
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%feed http://thenextweb.com/insider/2016/07/27/did-trump-really-just-encourage-russia-to-hack-the-us-government/ Did Trump really just encourage Russia to hack the US government? WikiLeaks, last week, published a cache of nearly 20,000 emails from top Democratic National Convention (DNC) officials, a move that led to the resignation of DNC charwoman Debbie Waserman Schultz. The hack that led to the dump was believed to have been carried out by government-sponsored hackers the FBI believes to be from Russia. While the case remains unsolved, it is under active investigation. Presidential nominee Donald Trump had this to say about the hack, and Russia's alleged involvement: “Russia, if you're listening, I hope you're able to find the 30,000 emails that are missing,” Trump said today. “I think you will…
%feed http://thenextweb.com/insider/2016/07/27/syrian-artist-uses-pokemon-go-to-show-the-harsh-reality-of-life-in-a-war-zone/ Syrian artist uses Pokémon Go to showcase the harsh reality of life in a war zone While the world stares intently at their respective smart devices, ever on the lookout for that elusive Pikachu, Syrian artist Khaled Akil has a different set of problems. Akil has taken the iconic Nintendo creatures and augmented them onto a backdrop of the grim realities of life in war-torn Syria. “The news of Syria in everywhere, and now the Pokemon Go game is trending,” Akil said. “The mix between these two made me wonder what it would be like to hunt for a Pokemon character among the rubble in Syria, and how a virtual game attracts more attention than the atrocities…
%feed http://thenextweb.com/insider/2016/07/26/obamas-new-cybersecurity-scale-is-bush-level-stupid/ Obama's new ‘cybersecurity' scale is Bush-level stupid In the post-9/11 world, the Bush administration once created a color-coded guide used for fear-mongering detailing the current threat level from bad actors worldwide. This tool — which came to be known as the Homeland Security Advisory System — ranged from green (good) to red (start watching ‘Doomsday Preppers‘ and get in your survival bunker), depending on the risk of terrorist attack. We'll just overlook the fact that my local news uses the same system to let me know if I'll be sniffling and rubbing my eyes all day based on pollen counts. Today, the Obama administration released an accompanying schema to detail…
%feed http://thenextweb.com/insider/2016/07/26/report-upcoming-nintendo-nx-will-be-a-handheld-you-can-play-on-your-tv/ Report: Upcoming Nintendo NX will be a handheld you can play on your TV After seeing a “leaked” version of the Nintendo NX controller — which looks an awful lot like a recent patent (below) — we already had inklings that the upcoming console could be a handheld. A report by Eurogamer — from “a number of sources” — seems to confirm that. According to these sources, the NX will function as a high-powered handheld with detachable controllers and its own display. The controllers, in this case, would reside at the left and right of the screen and could be removed — although the “why” here proves elusive, but I'd imagine it's for watching videos or…
%feed https://www.designweek.co.uk/issues/25-31-july-2016/penguin-works-international-artists-new-essentials-collection/ Penguin works with international artists on new Essentials collection
Penguin has worked with designers on the republishing of classic book titles from the last 100 years, which the publisher is hoping to bring to a new audience.
The Penguin Essentials is a growing collection, which is released in different series and sees a single artist or designer work on each cover concept.
Editors from Penguin selected the titles before art director John Hamilton and his team set about commissioning artists they felt could capture the spirit of each book in a cover design.
Penguin designer Gill Heeley, who has worked on the project, says: “It's a great series to work on as ultimately we get a lot of freedom and control over who we commission and the direction each cover will take.”
“Diverse and international”
The artists and designers were as “diverse and international” as possible according to Heeley, who says in this case the Penguin team has scoured blogs, exhibitions and tattoo shops to find the right people.
“Often the artists won't have worked on a book cover before, which means they produce something really original and fresh,” says Heeley.
The artists involved in the project have very diverse skills, which is reflected in their approach to the covers, but Heeley says that their work is still managed in a way that means the covers work together as a set.
Despite this the artists were given quite a loose brief so they were free to explore their own direction.
“This can sometimes make the design process a tricky and uncertain one but can result in something really unusual and unexpected,” says Heeley.
What a Carve Up, by Jonathan Co was illustrated by UNGA, who is part of the artist collective Broken Fingaz.
Heeley says UNGA's work has a strong visual aesthetic that draws on the group's Israeli homeland.
“As is often the case with many of the artists involved, he was at times hard to pin down, especially as he is based in Israel and always on the move,” says Heeley.
The artist who worked on A Kestrel for a Knave, by Barry Hines, was Kyler Martz, a tattoo artist and illustrator based in Seattle.
“It was so interesting to see a tattoo artist from Seattle's response to this very English book, which turned out to be a contemporary and striking take on a classic,” says Heeley.
For The Help, written by Kathryn Stockett, Alex May Hughes was chosen as the artist.
“She works with precious metals on glass, painstakingly applying each layer by hand. The bold glossy colours and metals of her work mirror the period the book is set in so well,” says Heeley.
According to Hughes herself the work is “celebratory and positive” and the materials and finish are “luxurious and rich and uplifting”.
The word Help is “a sort of a desperate cry, or at least by definition associated with struggle, which juxtaposes nicely with the medium,” Hughes adds.
The Penguin Essentials series is published on 6 August in paperback and each book costs £8.99.
Jennie Child has joined AKQA's London office as international director of talent acquisition. Before joining the consultancy, she held a senior talent acquisition position, leading teams on both agency and recruitment consultancy sides.
Landor has appointed Andrew Welch as managing director at its London office. Welch previously worked at Landor as executive director for its EMEA region, before his appointment as chief executive of Y&R South Africa in 2011.
WPP's Brand Union has appointed Alex Clegg as the new UK chief executive, based in the London office. He will work to evolve the company structure and deliver a new strategy for growth in London.
Bluemarlin has named Sally O'Rourke as its chief executive. She first joined the consultancy in August 2015 as global chief operating officer and US president. O'Rourke replaces founder Andrew Eyles, who has now become chairman of Bluemarlin Group.
Paul Richards, former creative director for Global Brands at Mattel, has relocated from the US to join Blue Kangaroo's team in the UK as its director of creative strategy.
Brand Union has announced the appointment of John Shaw to the role of chief product officer. The newly created role will see John responsible for overseeing the agency's product, from strategy and creative to design and technology.
Gpstudio has hired Jenny White to head up its new digital arm, in the role of director of digital. White joins the consultancy from marketing and communications company, Black Sun, where she was digital creative director.
Creative business school, Hyper Island, has announced the appointment of its new chief executive, Sofia Wingren. She has previously worked at educational organisations including EF Education First.
Lambie-Nairn has appointed former FutureBrand senior brand strategist, Sheila Morrison, as its strategy director.
Industry has appointed Nada El Barshoumi as lead brand consultant for the Middle East and North Africa Region, based in Bahrain. She was formerly a partner at Bahrain-based PR and design agency, Obai & Hill
Consultancies
Design and motion studio ManvsMachine has opened a US office in Los Angeles. Partnering with Landor, which owns a majority stake in ManvsMachine, the studio has plans to expand with new assignments throughout North America.
%feed https://www.designweek.co.uk/issues/25-31-july-2016/designers-tell-us-work-best/ Where do you work best? Designers reveal what spaces stimulate their creativity Patrick Eley, creative director, DN&CO
“I've always found the studio environment a creative one there's something about the white noise of shared spaces that allows your mind to disengage and approach a problem from the side.
Then again I've never liked working entirely alone the ebb and flow of conversation, and the ever-changing soundtrack make for an energetic workplace.
But it's variety of space that's important for productivity. Our studio sits across three floors with an intensity that increases as you climb. The calm of the ground gives way to the cathedral-like top and lets your mind reach for ideas that didn't seem possible lower down.”
Morag Myerscough, founder, Studio Myerscough
“I have worked in a few studios in my time and learnt what I liked and didn't. The space you are in can really influence how your brain works. I am lucky as I have a space to myself and I have everything at hand if I want to paint or make a model I have it all here. It's a large workshop, so I don't feel restricted about being stuck at a desk in front of a computer.
The huge thing that helps me work is I have a glazed ceiling and natural light all year round and when you spend long hours working it really helps to understand what the weather is like outside it is uplifting.
I have Radio 4 or music on all the time…I love just having the sound as background noise rather than having it penetrating into my head through headphones. But one of the most important things is that my dog Lemmy moves freely through the space and makes my days a joy.”
Tadhg McCarthy, founder and design director, We Are Hive
“There is no one-size-fits-all environment for being productive and creative. You can try to boil it down to a formula but, in the end, people make up their own rules. At our studio, we don't obsess about where people are or the hours they put in, but about the quality of what they do.
Great work can come from individual focus, uninterrupted flow and distraction-free environments. But it also comes from team interaction, collaboration and side-by-side decision making. Ultimately, it's about finding a balance that works for you and your team, in a workspace that offers flexibility and encourages people to do their best work.”
Pali Palavathanan, founder and creative director, TEMPLO
“I work best when on the go and am adverse to sitting at a desk trying to come up with ideas. I actively encourage my designers to get outside and do the same.
Through tracking my walking I've noticed that when I average 20,000 to 30,000 steps a day I'm at my most productive. Something about the constant motion and seeing a changing environment seems to allow the brain to free up and increase lateral thinking.”
“I work best with a lot of activity around me, visual stimulation and people. Maybe there's a connection being able to design in an environment of chaos and order makes it easier to come up with solutions that have to be seen and communicate out in the street; an environment of people, chaos and order.”
Alan Dye, designer and director, NB Studio
“I'm writing this standing up on a packed, hot, frequently stopping Piccadilly line tube on my way to work, wobbling all over the place, wishing the old lady in front of me would offer me her seat….
My mind is always working and wandering off and I'm still trying to learn how to capture those subconscious thoughts. It doesn't matter if I'm in our lovely NB studio scribbling with our designers or wobbling about on a boiling hot tube carriage.
…she didn't offer me her seat.”
Stacey Hunter, director at Local Heroes
“I'm at my most productive and creative surrounded by other creatives. My studio is large enough for six people to have their own defined spaces, a common area to keep as flexible as possible (right now it's an ad hoc stockroom/photo studio), and a quiet, calm, informal meeting room.
We're based in a 1970s brutalist office block in the centre of Edinburgh on a floor with 20 other independent creatives spanning architecture, graphics, interiors, PR and production. I can ask advice, get shortcuts to the best suppliers and collaborate. Ten years ago I found collaborating frightening — now I wouldn't have it any other way.”
Sam Bompas, co-founder, Bompas & Parr (photo Charlie Surbey)
“I spend a good deal of time tearing through the archives of the London Library. There's a great wealth of forgotten knowledge that can be used to re-enchant what people put in their mouths. Every so often we'll run to ground an obscure menu, ancient food treaties or most recently a Memoir of a Stomach that will serve as inspiration for a future project.
At the London Library the stacks of books are arrayed alphabetically with strange shelf marks. When I go to research drinks I drift into the adjacent sections, duelling, death, dress which provides wholly unexpected answers to the original research question. The library space is also a little erotic.”
%feed https://www.designweek.co.uk/issues/25-31-july-2016/nissen-richards-studio-designs-colourful-natural-history-museum-exhibition/ A look at the Natural History Museum's colourful new exhibition Copyright Jim Stephenson 2016
Nissen Richards Studio has designed both the 3D elements and graphics for a new Natural History Museum exhibition, called Colour and Vision: Through the Eyes of Nature.
Based on the use of colour in the natural world over the last 565 million years, the exhibition explores how without vision evolution wouldn't have happened in the way that it did, according to exhibition designer at Nissen Richards Studio, Sophie Mitchell.
“The Cambrian explosion was when the eye evolved, which then led to huge diversity in the natural world,” says Mitchell. “Our brief was how to get that across as an immersive experience.”
“Journey of discovery”
Nissen Richards Studio designed the exhibition around the concept of a “journey of discovery”, Mitchell says, starting out in a dark room with out-of-focus surroundings that reflect a lack of vision, before moving through into much brighter zones in order to reflect this transition.
Using more than 350 specimens from the museum's collection ranging from brightly coloured birds to fossils of the first organisms with eyes the exhibition shows how the use of colour in the animal kingdom became the difference between life and death.
Four main zones included in the exhibition cover subjects such as sexual attraction, warning, deception and camouflage. Highlights include a light installation created in collaboration with British artist Liz West, which uses dichroic glass, and a Victorian-style tower filled with brightly coloured taxidermy.
Outdoor, press and digital campaign
“Our approach was to use a white-on-white, or black-on-black backdrop so that all of the colour in the exhibition was just coming from the specimens themselves,” says Mitchell.
Details such as the wing of a Blue Morpho Butterfly which reflects light in a particularly way so that it shimmers are carried through the rest of the exhibition itself, for instance in graphic lettering and on physical panels.
Another consultancy, Krow has created an outdoor, press and digital marketing campaign to run alongside the exhibition. Representing a chromatic explosion, the campaign is made up of an array of colourful specimens arranged into the shape of an eye, to create a visual representation of the showcases.
Colour and Vision: Through the Eyes of Nature runs from 15 July 6 November 2016 at the Natural History Museum.
Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016Copyright Jim Stephenson 2016
%feed https://www.designweek.co.uk/issues/25-31-july-2016/%EF%BF%BChow-ensure-steady-growth-recruitment-2/ How to ensure steady growth through recruitment
Recruiting the right people and hanging onto them are perennial issues for all design consultancies, but for design groups just starting out such matters can be critical.
This year we turn the spotlight on Top 100 groups around 10 years old to find out how they started to grow their business by bringing the right people in and get some top tips on what the best rate of growth is.
Since founders Matt Miller and John ‘Sinx' Sinclair set up digital product studio Ustwo from a kitchen in 2004, it has grown to take on 150 people, 51 of whom are designers.
Focusing on both client work and its own products, the reputation of the studio has spread and it has set up studios in New York, Malmö and Sydney.
Ustwo's London studio
Ustwo marketing lead Matthew Edwards says the consultancy looks for a wide range of skills, specialisms and backgrounds. “We benefit from contact with LGBTQ and various women in tech networks. We also focus on the development of people we have at Ustwo already sometimes, just the right person is already there with you.”
Referrals play a big part in recruitment for Ustwo and Edwards says personality-wise “resilience and pragmatism” are essential in a rapidly changing digital industry. However, he also says it is “cultural growth rather than cultural fit” that the consultancy is looking to so it can always diversify.
“We run a very active events programme in the studio, which means we get to meet some amazing people from all walks of life.”
All of the consultancy's design expertise are in-house and while skill development and training is always in progress, so is spotting any gaps and looking at where hires need to be made.
Ustwo's London HQ
There has been a marked increase in staffing levels at Ustwo, particularly this year with 89 people joining. “The pace of our growth is something we're very conscious of. Growth, change and development are all interlinked, and have a strong influence on our culture. Future growth will most likely be in new ventures,” says Edwards.
Design fee-income is expected to increase by 7% in 2016 at Ustwo and there is a correlation between increased staffing levels and increased revenue.
“Taking on more work usually means more revenue and a corresponding growth in headcount. While we're looking at a healthy year-on-year growth in terms of our top-line revenue, we are also testing alternative revenue models
beyond our client-service work. Over the next three years, we expect to generate an increasing percentage of our revenue from our own IP and joint ventures and partnerships.”
Brandopus' London studio
Over at branding consultancy Brandopus, design fee income is expected to increase by 10% in 2016. Brandopus executive creative director Paul Taylor says that “a steady approach is what has maintained our successful growth” and much of this is down to “positive connections” with clients, leading to both referrals and repeat business, but getting staffing levels right is also part of organic growth.
Brandopus started out in 2007 and today has 87 staff, with 26 of these designers. Most of the design expertise is found in-house with freelance support relied on for busy periods. Craft, illustration, artist or typographic specialities are turned to when needed.
A steady approach to growth has seen Brandopus set up several international outposts. “In the pursuit of international hubs to service global clients, rapid expansion can lead to a failure to recreate the ‘magic' that defines the founding studio,” says Taylor.
“At almost 10 years old, we have three offices worldwide, with New York being our most recent launch. Although there has been a pull towards the US for a while due to our client base, we have taken the time to consider the best approach and wait for the right people to come along to help us launch it. The fact that we took the time and have the right people will undoubtedly have a positive impact on the resulting quality of work and future growth,” he adds.
“Balance between talent and personality is key”
Creating and maintaining the right culture and finding people who can contribute to Brandopus have been essential, according to Taylor. He says: “The right balance between talent and personality fit is key.”
Managing growth and recruiting at the right time is “a constant challenge”, explains Taylor. “We have learnt over the years that you cannot recruit ahead of the curve in the anticipation of growth; however, waiting until the growth has already materialised can leave you with an over-stretched team.
“You have to manage these fluctuations carefully. The one thing we have learnt is not to rush into just recruiting the people who are available at the time always wait for the right people to come along.”
As Brandopus' client and business base has grown, a team that is capable of managing this has been built, according to Taylor. He explains: “Of course we have the ambition to win more business and as and when this happens we will recruit to manage it effectively.
“Our current size of 87 people feels extremely comfortable. For an independent agency we're on the larger size, but not so big that we don't feel like we know everyone here personally we think this is vitally important.”
Missouri Creative only started out in 2013 and now has 29 staff and 12 designers. New business director Andrew Mitchell says since it was set up by co-founders Paul Brennan and Stuart Wood, the consultancy has experienced “organic and steady growth”.
By the end of the first 12 months there were four designers, by year two there were up to eight full-time designers and now 12 full-time and approximately 12 freelance.
“A strong relationship with a recruitment consultancy is vital”
Having around half of the staff full-time and half freelance is deliberate and gives flexibility. “Often freelancers turn into full-time staff as our client base grows. It allows us to scale up quickly,” says Mitchell.
Many of the initial hires were made from a list of targets Brennan and Wood met in their 12 years at Fitch. “Building a strong relationship with a recruitment consultancy is vital as the studio grows and if they invest the time to understand you, your culture and the type of work produced it tends to speed up the hiring process and you receive CVs that fit your requirements more accurately,” says Mitchell.
As Missouri has grown, more portfolios have come in and the better ones show an interest in the consultancy, what it does and how the individual's experience can be complementary.
“Moving young designers through the ranks”
“We like to bring in young designers and move them quickly through the ranks there is nothing quite like finding that rough diamond and polishing it over time. It is one of the great pleasures of working in a young, dynamic industry,” says Mitchell.
Growing the business further is still the plan and a structure has been put in place to make this happen. “We now have two strong design directors below our creative director and a great account director managing a talented account management team this should give the founding partners the head space to drive growth for the business,” he adds.
The best way to grow has been along what Mitchell sees as a more traditional consultancy model: rate card x time = cost. “I know other agencies have challenged this model but we find it the easiest and most transparent way to work with clients so staff numbers reflect where you are financially.”
As the consultancy has grown, more services have been brought in-house. In the beginning, visualisation and rendering were outsourced but as these things are so integral to Missouri's offer, designers with these skills were recruited and now skill sharing and in-house training have been adopted to broaden the skill sets of staff.
“We are still looking at innovative ways to cut down costs to our clients so we are considering outsourcing some artwork and technical drawing packages, but this means you need a good senior head of production to manage that work flow,” says Mitchell.
Map's studio
Map, which only began in 2012, has experienced similar business growth to Missouri yet it is a much smaller operation numbers-wise.
Projected annual growth in design fee-income for 2016 is 25% for Missouri and Map predicts as much as 50% growth over the same period.
When Map started out, it was a team of four, including director Jon Marshall. Map is part of a small group with Barber and Osgerby and Universal Design Studio, which means there was support from a shared commercial and admin team of between three and six people.
Today, Map has a team of nine plus two interns and around two people per year are being added to the design team.
Some of the more junior members of the team have been kept on after coming through Map's rolling intern programme. The more senior members of the team have approached the consultancy speculatively or have been recommended by existing members.
Map's studio
“So far, we haven't had to advertise or reach out to people but I'm not ruling it out for the future,” says Marshall, who explains that he does not want to grow the consultancy too quickly and disrupt its team-oriented culture. He says: “The current rate of growth of around two people per year seems ideal to me.”
Remaining relatively small has helped Map to be efficient and manage its growth effectively, according to Marshall. “A small team with steady growth helps with efficient communication. At the moment, our team is small enough so everyone knows what projects are going on and we can go for a meal together and sit at one table. I think at more than 12 to14 people some of that efficiency starts to be lost, but it does enable you to tackle larger and more ambitious projects,” he says.
All of the consultancies we spoke to have found a successful way to grow and have recruited in a sustainable way. Bringing in the right talent to support new business is vital, but consultancy owners also have to be mindful of not over-stretching themselves.
All of the consultancies we spoke to featured in our Top 100 consultancy survey, which you can view here.
Campaign has created the interiors for Selfridges' new Designer Studio, featuring installations by artist collaborators Gary Card, Patternity and Anna Lomax.
The 1580m2 retail space, situated on the third floor of the department store, is designed to showcase established and emerging fashion designers, including Acne and Kenzo.
First commissioned to work on the project in May 2015, Campaign has based the Designer Studio's installations or follies around the concept of a “theatre of forces”, working closely with each of the artists, according to lead designer Jenny Ford.
“Adaptable, versatile, exciting and durable”
“These installations both large and small scale, [are] adaptable, versatile, exciting and durable, and provide a platform for brands to artistically express their seasonal vision and line,” Ford says.
“Each folly helps to anchor key areas in the designer studio, and together they cohesively work to create a theatre of forces in the gallery-inspired architecture.”
Other key design features include an art gallery with works that are selected by Selfridges and its Design Studio partners and collaborators each season, and a book shop selling a mixture of photography, fashion and art books, magazines, annuals and collectible editions.
Exposed concrete columns and natural light
The changing rooms are designed to be “Instagram-worthy”, according to Selfridges, featuring mid-century furniture, patterned curtains and music playlists curated by the designers.
Meanwhile, the rest of the interiors strike a balance between “new and old, clean and raw”. The space includes coffered ceilings and exposed concrete columns, while six previously blocked off windows have also been opened up to make use of the natural light.
“The palette sits comfortably and modestly together, and enhances the design,” says Ford, “allowing the follies to be the show stoppers.”
%feed https://www.designweek.co.uk/issues/25-31-july-2016/moleskine-opens-caf/ Moleskine opens concept café in Milan
Designer stationery brand Moleskine has opened its first ever café, which looks to create an environment that encourages creativity.
The Moleskine Café is in Milan, Italy and is based on the concept of the Parisian “café littéraire” (literary café). The brand's new retail format aims to acts as a café, art gallery, store and library hybrid, with spaces dedicated to studying, eating and drinking, exhibiting and displaying products.
The interiors have been designed by global consultancy Interbrand's Italy office alongside Moleskine's own creative team. They have been based on the style of the classic Moleskine notebook “clean aesthetics” with a “contemporary palette of neutral colours”, says the studio, to replicate the ivory colour of the notebook's pages.
Conversation spaces and quiet spaces
The space is split across a ground floor and a mezzanine level. The ground floor aims to be a space for conversation, while the mezzanine is a quieter, more reflective space, says Interbrand.
At the centre of the ground floor is a food and coffee counter, surrounded by various displays and seating areas. This layout is “intuitive” for the customer, says Manfredi Ricca, chief strategy officer at Interbrand EMEA (Europe, Middle East and Africa) and LATAM (Latin America), with “non-obtrusive” product displays resigned to the sides and the coffee and food offering as the “central element of attraction”.
The right of the store sees a product display alongside an “experience table”, which allows customers to feel different paper grades, look at page layouts and try out Moleskine+ smart notebooks, pens, pencils and bags.
Exhibition space
The left side of the store sees a space dedicated to exhibitions and events, focusing mainly on the early stages of creative processes, such as sketches, notes and doodles from architects, designers, illustrators and film directors. Exhibitions on illustrator John Alcorn and architect Kengo Kuma are due to take place this year.
There are also shared tables and seating areas on the ground floor, which aim to encourage people to chat and share ideas.
The mezzanine level sees more private, separate seating, alongside a sofa space intended as a quiet area for reading, working and relaxing. This floor aims to be a more “reflective and intimate experience”, says Ricca.
Café is 3D version of Moleskine notebook
Ricca says the concept café will be a space where people can think and create. “Think about the product that made Moleskine known to the world in the first place the notebook,” he says. “Its ultimate aim is to provide a blank bi-dimensional space which encourages people's ideas and identity to find an expression.
“So a café from the same brand should provide the same, but in the third dimension,” he says.
The Moleskine Café concept has taken roughly a year and a half to create, and will be rolled out as a wider concept in other major cities around the world. Moleskine has not yet revealed where these will be.
%feed http://redirect.viglink.com?u=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FPhysicsWorld%2F%7E3%2FKAbrleIcu5o%2Fradioactive-decay-of-manganese-54-is-not-affected-by-the-seasons-says-physicist&key=ddaed8f51db7bb1330a6f6de768a69b8 Radioactive decay of manganese-54 is not affected by the seasons, says physicist New study suggests electron-capture process is not influenced by Earth's proximity to the Sun science
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%feed http://redirect.viglink.com?u=http%3A%2F%2Fredirect.viglink.com%2F%3Fu%3Dhttp%253A%252F%252Fnews.google.com%252Fnews%252Furl%253Fsa%253Dt%2526fd%253DR%2526ct2%253Dus%2526usg%253DAFQjCNGNYEOj9bw1c4oEP8ZMAOLg8tsLVw%2526clid%253Dc3a7d30bb8a4878e06b80cf16b898331%2526ei%253DvkeZV4jlFcbP1Qb4s5vIBQ%2526url%253Dhttps%253A%252F%252Fwww.timeshighereducation.com%252Ffeatures%252Fthe-robots-are-coming-for-the-professionals%26key%3Dddaed8f51db7bb1330a6f6de768a69b8&key=ddaed8f51db7bb1330a6f6de768a69b8 r0B0t: The robots are coming for the professionals - Times Higher Education (THE)
The robots are coming for the professionals Times Higher Education (THE) ... for their predictions of what universities would look like in 2030, there was scant mention of the impact of technology except in so far as it directly affects pedagogy, via innovations such as massive open online courses (“Future perfect: what ...
DMDII Seeks Proposals for Advanced Manufacturing R&D Projects IndustryWeek Low-Cost Robotics and Automation: This seeks robotics and automation solutions that are affordable, reconfigurable, and adaptable, and that exhibit the precision, repeatability, and productivity of conventional automated solutions. They must also ...
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%feed http://redirect.viglink.com?u=http%3A%2F%2Fredirect.viglink.com%2F%3Fu%3Dhttp%253A%252F%252Ffeeds.mashable.com%252F%7Er%252FMashable%252F%7E3%252FNl7dqEDCNBE%252F%26key%3Dddaed8f51db7bb1330a6f6de768a69b8&key=ddaed8f51db7bb1330a6f6de768a69b8 r0B0t: Meet Spider, the tiny robot doctor for blimps
From Lockheed Martin's Skunk Works team — the same folks that brought you the strategic recon aircrafts U-2 Dragon Lady and SR-71 Blackbird as well as the stealth fighter jet F-117 Nighthawk — now comes Spider (not to be confused with this one), a device to repair blimps more efficiently than ever.
As Skunk Works explains, old methods to repair blimps are time-consuming. One has to deflate the blimp (which can take hours), and walk around with a bright, handheld light, looking very carefully for rips and tears.
By contrast, the Spider (short for Self-Propelled Instrument for Damage Evaluation and Repair), however, uses two magnetic halves, one to shine a bright LED light outside the blimp, and one that senses this light from the inside, thus exposing holes and problem areas. It can then move its patching mechanism over said hole, repair it, and then snap before and after pics of the fix, allowing a pair of human eyes to inspect it later. Read more...
%feed http://redirect.viglink.com?u=http%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2016%2F07%2F27%2F487665728%2Fmysterious-and-known-as-the-raven-scientists-identify-new-whale-species%3Futm_medium%3DRSS%26utm_campaign%3Dresearchnews&key=ddaed8f51db7bb1330a6f6de768a69b8 Mysterious And Known As The 'Raven': Scientists Identify New Whale Species
"There have been a lot of people out there surveying whales for a long time, and never come across this," a researcher says. But Japanese fishermen have told stories about this dark whale for years.
science
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%feed http://redirect.viglink.com?u=https%3A%2F%2Fwww.sciencedaily.com%2Freleases%2F2016%2F07%2F160727172011.htm&key=ddaed8f51db7bb1330a6f6de768a69b8 Forests, species on four continents threatened by palm oil expansion As palm oil production expands from Southeast Asia into the Americas and Africa, vulnerable tropical forests and species on four continents face increased risk of loss, a new study finds. The largest areas of vulnerable forest are in Africa and South America. But because forests in all 20 countries studied contain high concentrations of different mammal and bird species at risk of extinction, conservation efforts need to incorporate localized solutions tailored to each region. gaia
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%feed http://redirect.viglink.com?u=https%3A%2F%2Fwww.sciencedaily.com%2Freleases%2F2016%2F07%2F160727172008.htm&key=ddaed8f51db7bb1330a6f6de768a69b8 Warnings of imminent extinction crisis for largest wild animal species A team of conservation biologists is calling for a worldwide strategy to prevent the unthinkable: the extinction of the world's largest mammal species. gaia
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