Shine on Leith

On the 8th of December I went to see The Proclaimers in Vicar Street Dublin and Christ almighty it was a great show. It may had something to do with the handful of pints I had before hand but I can’t remember having that much fun at a concert.

There is something romantic and familiar about the voice of the band. Their songs have become even more relatable 25 years since there original conception.

I came up with a simple poster design based on my favourite song Sunshine on Leith. Give it a listen if you get a chance.


A walk through Dublin

I decided to document my journey to work today. I saw an opportunity to experiment with type. I enjoyed creating a loose and skewed representation of type. The ACF or ActionCuresFear is free flowing and adaptive. It doesn’t have to stick to any rules or shapes. It gives me an chance to do whatever I like without overthinking, Which I’m prone to do. It’s a great exercise and it’s helping me to become less protective of my work.

Big Thinking

Really is my bible at the moment!


Action cures fear. Indecision, postponement, on the other hand, fertilize fear.

Jot that down in your success rule book right now.

Action cures fear.

When we face tough problems, we stayed mired in the mud until we take action.

Hope is a start. But hope needs action to win victories.

Put the action principle to work. Next time you experience big fear or little fear, steady yourself. Then search for an answer to this question. What kind of action can I take to conquer my fear?

Isolate your fear. Then take appropriate action. Below is an examples of fear and some possible action cures.

Fear of what other people may think and say - Make sure that what you do is right. Then do it. No one ever does anything worthwhile for which he is not criticized

Pure Class!

Studio Spass is fun by name, fun by nature

Studio Spass is a Rotterdam-based agency working across various design mediums, always injecting an entertaining sense of personality, reflected in the studio’s name – which means “fun” in German. The studio created the visual identity for Spring, a ten day festival for experimental dance and performing arts earlier this year in Utrecht. Founding designer Jaron Korvinus discusses the studio’s design process with It’s Nice That, producing an original identity that literally “morphs, bends and stretches the imagery” to reflect the experimental choreography of the festival.

“We used a micro typeface with distinctive large ink bleeds in a very big and bold way," says Jaron, “in this context this gives the typeface an almost ‘body-like’ feeling.” The bulging letterforms of Gemeli Micro by Production type evokes overflowing skin and adds an element of tactility while giving way to the interactive motion. “Our aim for this project was not to portray the festival and its highlights, but to capture the feeling of surprise in the festival. How could we bring this to life in the festival identity?”

The designers recreate the diversity of the festival through a variety of interactive posters. The moving images are framed by an orange background and although “the colour orange is not [the studio’s] favourite colour”, the colour marks an integral part of the festival’s identity that Studio Spass adhere to. Despite this design challenge to “embrace the colour orange”, the designers still wanted the colour to feel “alive and present in all communication” for the visual identity to make a statement. This is how orange became the base colour for the campaign which in turn, led to the choice of monochromatic visuals to contrast against the orange brightness.

With “the potential role for graphic designers growing larger,” than the design of identities, Jaron and his team have experienced a shift in more three-dimensional work. Working increasingly in installation and spatial design, the studio has extended its practice to showcase an exploration of “objects, typography, space and interaction with people.” Their creative process begins with the research through interviewing clients “to get as much input as possible.” Jaron adds, “every different context of a project brings in something unique that we could potentially incorporate in the design.” The studio then challenge each other’s ideas, eventually narrowing it down to a single concept that is pitched to the client, underlining the studio’s ethos that “presentations only work if we are fully convinced by the concept."


Jerry Lorenzo Aims to Awaken the Spirit

Article is taken from

This is a beautifully fresh approach in the creation of this line by Jerry Lorenzo. I feel that nostalgia is a powerful emotive when it comes to design and marketing. A visual cue can bring us back to our dearest childhood memories, that’s why we see so many re-releases of movies, cartoons, clothing and shoes today. The brands aim to make a connection with the consumer through nostalgia. By using visual cues such as re-releasing a pair of trainers we had as a kid, the brands encourage the consumers to purchase the trainers now that they have the means as an adult.

Lorenzo is using an emotive cue as apposed to a visual one. He is tapping into how it felt seeing our idols step on court wearing something new, something unknown. He is doing this by creating a mystery around his line. Bringing us back to the times before we knew everything about everything. Sure who doesn’t want to be a kid again.

Have a read and let me know your thoughts.

Nike’s first collaborative project with Fear of God founder and creative director Jerry Lorenzo is highlighted by an court-ready basketball shoe, the Nike Air Fear of God 1. During the last few weeks, glimpses of the design — which incorporates a double-height Zoom Air heel unit — came through a preview of Lorenzo’s latest Fear of God offering and then appeared on the feet of NBA stars. The rollout is tactical, all part of Lorenzo’s desire to focus on the emotional element of sport. 


“It is a shoe that should only be judged by the emotion it gives the kid when he first sees it — however it makes him feel,” says the Los Angeles-based designer. “We live in a day and age when images are leaked left and right, and products are leaked without consideration and emotional attachments. I’m aiming to give a visceral experience whether the kid sees it first on Ben Simmons coming into the arena or worn by his favorite athletes on court.”

Lorenzo wants to tap into a certain element of nostalgia. Not so much about what was worn, but how it was worn. He wants to awaken a spirit he deems dormant, to remind of the power sport once had in defining style. 

“In my youth…growing up in the ’80s and finishing high school in the ’90s, contrary to what's happening now, it was our superstar athletes and our pro athletes that were informing the way that we wore our street clothes,” he says. “These athletes, like Agassi and Jordan, were at the top of their game and what they wore didn’t compromise on design or beauty.”


Working with Leo Chang, Senior Footwear Design Director, Nike Basketball, on the Nike Air Fear of God footwear allowed Lorenzo to balance his aesthetic vision and performance aspiration. Says Lorenzo of Chang, “He’s someone with a phenomenal desire, who understands innovation and performance at a high level. He’s also patient and open to not only a new designer but a new design process.” This meant a lot of patience on both sides, Lorenzo says. “In order to create a product that doesn't compromise style or innovation, you can’t make concessions to process.”

Process is something Lorenzo says came from his athletic background in baseball and basketball. In sport, he found a foundation for how to go about life. The competitiveness that drove relative success on the field has been translated to his work as a designer.

Recently, Lorenzo found that Nike’s 30th anniversary Just Do It campaigns affirmed the value of sport in all facets of life. Led by Colin Kaepernick, the lead spot, Dream Crazy, reminded Lorenzo that “there are people outside of sport who go about their lives through the spirit of sport.” 

And that is where he wants his collection to sit — within the soul of the wearer. 

“This is for all the kids coming up in small cities with big-city dreams,” Lorenzo concludes. “It’s about what he feels he should have, not what he thinks he should have based on what society's telling him.”

Encore! Long before the World Cup 2018, France was already a winner with type

Sharing this epic campaign by Nike in collaboration with Tu Sais Qui, Convoy Agency and Studio Jimbo. The piece below is from the guys over at

I’m loving the combination of multiple typefaces paired with energetic images and provoking patterns. They all work perfectly together. For me this represents the diverse nature of the French national football team. Pretty sure this campaign is the only reason they won the World Cup!

Marc Armand’s Tu Sais Qui, the Paris-based art direction and graphic design studio he founded in 2008, teamed up with a number of creatives to revamp the French national football team’s jerseys before the triumph in this year’s World Cup.

Convoy Agency which was in charge of the art direction of the project teamed up with Studio Jimbo for the graphic design elements of the campaign.

In collaboration with some of Nike’s in-house design teams Studio Jimbo played the field like a pro mixing the images with type in this visually striking, impressive “case study” for the winners of this year’s World Cup 2018.

France's 4-2 victory over Croatia gave them a second star above their crest following their 1998 victory.