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It has been a very inspiring couple of days at Soho Create in London. It would be hard to sum up but I have to say that if I heard a reoccurring thing it was the inspiration of Punk and its DIY ethos. Apart from that – somewhat unpredictable – subject it really became a list of diverse insights and anecdotes from some very diverse people. There were also quite a few reference to a time before all sorts of digital influences – Google, Wacom, ProTools, Adobe and social media. It wasn’t really lamented – more celebrated and created some great analogies.

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Running up Parliament Hill early this morning when a pack of runners doing a 10k ran the other way on the turf in “silence”. I say silence – their sound was actually incredible. About a hundred people not saying anything, feet hitting mud and grass, breathing in a sort of unison. It was only silence in a social sense. The actual experience of it was a sort of soft rythmic murmur. 

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A colleague asked me if there is anything I always do when I approach a project. Initially I really wasn’t sure what to say. After some thought the closest I could get to an answer was this: I am always looking for – and at – structure. Before any project begins you have to find its potential structure. That will allow you to build it… or reveal it.

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marshall-mcluhan-the-guttenberg-galaxy

No matter how new the medium we still tell stories using familiar principles, components & references: iOS7 is set in Helvetica Neu designed in 1983, the hierarchy of The Guardian app echoes that of the print, Instagram evokes a passed most of its users didn’t experience, a photo always has a crop and a colour, Responsive design uses movable type – you can’t get more heritage than Gutenberg. More on this at a later date.

cropAmazing illustration this week about the importance of the crop. The crop has seen a lot of changes over the past decade. The demands of working on multiple platforms and copy rich print pages has created a new kind of kind of frame that is often infinitely extendable. It’s a world away from Harold Evans “Pictures on a Page”. The subtleties are pretty much gone as we fit densely packed copy in and around the image that – generally – will not have been given much thought. On shoots I pretty much have explain that the crop is dead again and again.

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