Mak­ing the cover

Computer Arts - - COVER ARTIST -

“So why did you de­cide to ap­proach the cover de­sign like this?”

A rea­son­able ques­tion from our head of art and de­sign, when faced with our type-heavy col­lage. With such a spe­cific yet elu­sive no­tion at the heart of our head­line story, it would have been en­tirely rea­son­able for us to have com­mis­sioned an il­lus­tra­tor to visualise ideas for us – light­bulbs, day­dream­ing heads etc – but when Nick Car­son’s in­sight­ful ar­ti­cle came in, it was the cam­paigns and de­signs them­selves that felt most com­pelling and recog­nis­able. Nike’s Dream Crazy ads with Colin Kaeper­nick have won more awards than any other in re­cent mem­ory; Bax­ter & Bai­ley’s award-win­ning iden­tity for Bog Eyed Books is a clas­sic; and Stu­dio Sutherl&’s Pal­lant House Gallery brand­ing was, as ever, stun­ningly clean and ef­fec­tive. Why strug­gle to ex­press an idea through il­lus­tra­tion when the work it­self is iconic?

The rules of good ed­i­to­rial de­sign are in­vari­ably pretty ob­vi­ous: in this case, show and tell… And with the key as­sets fi­nalised and that other rule ap­plied (three is al­ways a good num­ber), it was just a case of com­ing up with the most ef­fec­tive colour com­bi­na­tion we could, which in this case was an eye-pop­ping blue and or­ange combo in­spired by de­sign agency TSOWC’s stun­ning prospec­tus for UAL (

MARK WYNNE Mark has worked in graphic de­sign for over 20 years, work­ing on many magazines in­clud­ing the cult video game ti­tle Edge.

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