The banknote will feature artist JMW Turner and is thought to be the “most secure” ever produced.

The design for the updated £20 note has been released by the Bank of England (BoE). Launching in February 2020, the new banknote will feature the portrait of artist JMW Turner.

The project for the design was headed by De La Rue, the British manufacturing company that currently print all BoE currency. As with existing notes in the updated series, the new £20 will be made from a polymer material. De La Rue claims the material is “cleaner, securer and greener” than previous paper versions.

The polymer material also lends itself to being more inclusive, according to De La Rue creative design manager, Jan Kercher. “We had to ensure that the note’s design was functional for the modern cash cycle,” she says. “[Among other aspects,] this involved designing a special tactile feature for the visually impaired.”

It’s thought the new note – which will account for 60% of all notes in circulation when it goes into print – will be the “securest Bank of England banknote ever”. Kercher says the design team “incorporated numerous overt and covert security features” in order to prevent counterfeiting. These include the two new “window” features, two-colour foil and the elaborate replicas of JMW Turner’s artwork itself.

The decision to feature the artist was made by way of public consultation. Kercher says it then took over two years to successfully recreate his work on the new note. “Doing justice to the artistic talent of JMW Turner was a real challenge for our designers,” she says.

“They had to recreate his work through engravings based upon his self-portrait from the Tate Britain and his famous Fighting Temeraire oil painting in the National Gallery.”

Part of the reason the recreation took so long is down to the printing process of banknotes. Kercher explains any artwork on currency has to be of a particularly high quality in order to survive the secure printing process all notes have to go through.

“We wanted to create a note that the general public would have confidence using while also gaining pleasure from its detailed design work celebrating Turner’s art and life,” Kercher adds.

With his appointment to the £20 note, JMW Turner will join Winston Churchill on the £5, Jane Austen on the £10 and – when it goes into production in the coming years – Alan Turing on the £50.


Source: Design Week

The difference between tints and shades can be confusing even for graphic designers with years of experience. Throw hue and tone into the mix, too, and you’re left with four, distinct color terms that everyone uses, yet not everyone understands.

The mix-up among tint, shade, hue, and tone is understandable since they’re all related to color theory and refer to similar concepts within design. That’s where those slight similarities end, though.

To understand the very real difference between tints and shades, you first have to realize that it involves neutral colors and their effect on any color. On the other hand, a hue is what we call a pure pigment or color that hasn’t been touched by whites or blacks. A tone is the result of mixtures involving color and gray or by using color with tint and shade.

Designers who want to become experts in color theory should read further for a comprehensive primer into hues, tints, tones, and shades.

Free Design Poster


10 design fundamentals, summarized

Download this printable PDF poster and hang these 10 design principles on your favorite wall.

The Importance of Color Theory to Graphic Design

One of the most fundamental pieces of knowhow that will help you get far in your career as a graphic designer is understanding color theory inside and out. Having a grasp of this is the basis of stellar, eye-catching design and powerful, visual communication.

Being confident in color theory will help you master:

  • Color contrast
  • Color combinations
  • All-around good composition

Think of a designer who’s working on a visual-branding project and has to emphasize certain parts of their composition. They must know how to apply and mix color, so that they can either lighten or darken specific areas in their frame. This is absolutely critical to getting an ad’s message across properly. Otherwise, the impact of the ad is wasted, and the messaging is overlooked.

Image Credit: Sharon Pittaway

Now that we’ve laid out why you need to become proficient in color theory, let’s take a deep look at tint, shade, hue, and tone to clarify their important differences.

Defining Tint vs. Shade, Hue, and Tone

As you’ll see, each term is distinct and represents a unique way to work with colors.


The purpose of a tint is to lessen the darkness of a color. Therefore, a tint is achieved by mixing a pure color (or any combination of pure colors) with only white. For instance, if you mix the pure pigment blue with white, you’ll naturally get a softer, light blue, which is a tint of blue.

It’s vital to remember that adding white to any pure color to lighten it does not also brighten it. Technically, though the tint may now look brighter than the pure, starting color, it actually isn’t. A helpful way to process this relationship is to think of a tint as the paler version of the same color.

Even just a tiny amount of white can turn a pure color into a tint. This means that even one tint of any color can feature a range of lightness. For example, a small amount of white added to blue will turn the color into one that’s only a bit lighter than the pure blue you started out with. On the opposite end of the spectrum, adding a lot of white to pure blue will turn it into an almost all-white tint that hardly features any of the starting color anymore.

Finally, a true tint will have absolutely no traces of gray in it.

Here are some digital-asset examples of tints:

Callout: Remember that tint is the hue plus white to lighten a color.


Think of tint vs. shade as the difference between lightness and darkness — in a way. While it’s true that a shade will have just black mixed in with a pure color or a combination of colors, a shade impacts the relative lightness of the ensuing color mixture. When you mix only black with a pure color, you’ll naturally increase the darkness of the starting color. A shade will have absolutely no gray or white in it.

Again, as with a tint, a shade is the same version of the pure, starting color, except that it’s a darker version. Also, the same rules apply with regard to the amount of the neutral color added. When you add a tiny amount of black to a pure color, you’ll turn it into just a slightly darker version of the original. When you add a lot of black to the starting color, you’ll produce a shade that’s almost completely black, with barely any of the pure, starting color mixed in or visible.

The Impressionists were a notable group of artists who didn’t have much use for black in their visual art, but used appropriately, black can add extra, interesting elements to your designs.

Check out these digital-asset examples of shades:

Callout: Remember that shade is the hue plus black to darken a color.


The hue is what we call in color theory a pure pigment. This means that it’s a pure color without the addition of any tint or shade (without any white or black pigment). Like the tint vs. shade consideration, the hue is one of the major properties of color theory.

Hue is also a more complicated concept. It’s always viewed in the context of red, green, blue or yellow. Put another way, hue is the degree to which visual stimulus can be regarded as either similar or dissimilar to stimulus that’s colored red, green, blue, or yellow.

Neutral colors (whites, grays, blacks) are never called hues. That’s because a hue is always a reference to the preeminent color family of any specific color that’s being viewed.

Hue is also the starting point of the color that our eyes see. There are six primary and secondary colors, of which hue is one. This means that the hue is the underlying base color of any mixture you’ll ever see.

The primary colors are:

  • Yellow
  • Red
  • Blue

The secondary colors are:

  • Orange
  • Purple
  • Green

If we look at the color wheel in terms of familial relationships, the primary colors are the parents, from which all colors and color combinations come, while the secondary colors are their children. There are also the tertiary colors (a mixture of one primary color plus its closest secondary color on the color wheel), which we may think of as the grandchildren of the primary colors.

Here’s an interesting factoid about how we perceive the hue of any color: we first process hues in the portion of our brains called globs, which are in the extended V4 complex.

Familiarize yourself with these examples of hues in design:

Callout: Remember that hue is the pure color of a pigment.


The last piece of the tint, shade, hue, and tone relationship, a tone is defined as any hue or mixture of pure pigments that only has gray added. You should also know that, in this context, gray is completely neutral, which means there are no other colors in the gray besides white and black.

Neutral gray will always reduce the intensity of a color; this applies whether the gray is light or dark. It’s always a good idea to be conservative in adding your gray to other colors: if you add excessive gray to a color, it’s next to impossible to bring up the brilliance of the color again.

To the human eye, toned pigments are considered more visually pleasing and even sophisticated because they’re not as loud as vivid, vibrant colors. Colors that are very bright are typically seen as being juvenile.

Look at the environment around you. This can be in real-life, in a magazine, or on your computer screen. Many of the colors with which you interact have been toned down from their original, pure color. The degree of tone will always vary, but almost no color you’ll see exists in its pure pigment original form.

Here are some stellar examples of tones in graphic design:

Callout: Remember that tone is the hue plus neutral gray to lessen the intensity of a color.

The Fundamentals Behind Tints, Shades, Hues, and Tones

With all the information you now have about tints, shades, hues, and tones, you still need to be able to apply it when you’re working with colors on your graphic design projects. That’s why we want to take you through a primer of the color wheel and then use that information to show you how to apply tint and shade.

The Color Wheel

The color wheel is your basis for selecting the appropriate color palette for any design project. Here are the basics you need to understand.

The color wheel consists of 12 hues that symbolize the relationships between colors, which have been developed and refined for centuries. It consists of:

  • Primary colors (yellow, red and blue)
  • Secondary colors obtained by mixing together the primary colors (orange, purple and green)
  • Tertiary colors (colors obtained by mixing together the primary and secondary colors)

Your next step is to analyze the specific relationships of these colors on the wheel to inform your decision-making about which colors work effectively in your designs.

Complementary Colors

Complementary colors are defined as colors (and their tints) and their polar opposites on the color wheel. This relationship creates the largest amount of contrast in design.

Image Credit: Malte Bickel

Examples of complementary colors, according to the traditional color model, include:

  • Red and green
  • Blue and orange
  • Yellow and purple

Due to the high level of contrast with these pairings, you’re advised to be conservative in how you use them. For the most part, use just one color in these pairings as the dominant one, and use its polar-opposite counterpart as only an accent—so the contrast doesn’t become too aggressive.

Analogous Colors

Think of this color relationship as one main color that’s coupled with the two colors that are right next to it on the color wheel. All the colors in this relationship sit next to each other on the wheel.

Examples of analogous colors include:

  • Green, yellow and yellow-green
  • Red, orange, and red-orange
  • Blue, violet, and blue-violet

There are two options here on how to use this relationship:

A three-color scheme – One main color and two colors on either side of it

A five-color scheme – One main color, two colors that are right next to it on either side, and two additional colors that are next to the two outside colors

Image Credit: Raynaldy Dachlan

Understanding what to do with analogous colors is significant as you consider tint vs. shade, hue, tone, and picking colors effectively.

Analogous colors are typically utilized in designs that feature less contrast. This is due to their nature of not possessing much contrast to begin with.

Triadic Colors

As their name implies, triadic colors are based on three colors that are equally spaced out on the color wheel.

Examples of triadic colors are:

  • Red, blue, and yellow
  • Orange, purple, and green

The most important aspect of triadic colors—when you’re evaluating tint vs. shade, hue and tone considerations—is their high degree of color contrast. However, the tone remains the same.

Image Credit: Robert Katzki

As always, when working with high-contrast colors in your design, you only want to use one of them significantly while the others are used as accents or with softer tints. Using this technique ensures that your design isn’t too loud.

Monochromatic Colors

Monochromatic colors are absorbing because you’re able to design a color combination that relies on different tints, shades, and tones of one hue. The thing with a monochrome scheme is that it can seem duller compared to the other color relationships (from the lack of color contrast), yet, on the upside, it can look quite sophisticated and clean.

Image Credit: Fabian Fauth

Just remember that monochromatic color schemes don’t really pop out at your audience, so you wouldn’t want to use this relationship when, say, you’re creating infographics, charts or graphs that have to quickly highlight important stats.

Split-Complementary Colors

Finally, we have split-complementary colors. This relationship occurs with one main color, its complement, and the two colors right beside the complement. A more complex color scheme, the split-complementary scheme gives you contrast, but also a subtler palette than using complementary colors.

Image Credit: David Pisnoy

One of the challenges with this scheme is the difficulty in balancing it well, due to the fact that all involved colors are contrasting. Since this is the most complex relationship, don’t be surprised if you have to experiment to a lengthier degree until you find what works.

Practical Uses of Tints and Shades

Armed with all this know-how about the color wheel and color theory, you’re more empowered than ever to start working with tint and shade in a variety of visually appealing methods. As you’ll see, it’s not really about tint vs. shade, but more about using both at the right moments to make your designs more effective than ever before.

Use More Degrees of Tint and Shade

Too many graphic designers get stuck in the mindset of working with only one tint or shade of a color at a time. We’re telling you to think outside this narrow-minded box and use a few tints and shades of a color simultaneously.

For instance, if you’re using yellow, use both tints like lemon chiffon and cream to balance with the color on the opposite side of the color wheel: purple.

Create Geometric Shapes With Tint and Shade

One of the more creative uses of tint and shade is to form shapes in design. Instead of just thinking about tint vs. shade as elements of color, start thinking about them as shapes.

Based on how much you lighten or darken various colors in the same composition, you can create aesthetic, well-defined forms that offer visual texture.

Keep Things Minimalist

Minimalism works to great effect in almost everything you can do as a graphic designer. This also extends to your projects involving tint vs. shade.

The monochromatic color scheme discussed earlier is ideal for an approach like this. Since you’re just working with one color, you can get quite experimental with how far you tint or shade that one hue to affect your design. If you do this right, you can arrive at a clean and modern style that will impress.

Add Some Color Gradients

Color gradients are transitions that slowly but surely blend from one color into another or even multiple colors. This provides you with the freedom and opportunity for a lot of vividness in your compositions.

With the tint and shade of different colors, you can go quite far in applying a broad range of color to your works. The best part is that you can work with analogous colors just as well as you can with complementary colors since gradients are best used subtly and transition gradually.

Working With Color by Leveraging Technique

It’s not so much tint vs. shade as it is tint and shade working together. Both color mixtures are the starting point for the knowhow behind versatile techniques that you can apply to your project’s color selection and combinations to get the best outcomes.

Now that you understand the distinctions between tints, shades, hues, and tones, you’ll be able to unlock massive potential in everything from visual communication to branding projects.


Source: Creative Market

The new look, which includes revised colours, illustration guides, graphics and a bespoke typographic styling, aims to strengthen Duolingo’s brand identity across its expanding product line.

The popular language-learning app Duolingo has been rebranded by consultancy Johnson Banks, in a bid to show how “everyone can Duolingo”.

Launched in 2011, the Duolingo app encourages its 300 million users to learn languages by taking short “gamified” lessons multiple times a day. Users can choose from 30 languages, ranging from English and French, to Navajo and even Klingon.

The redesign began from a need to unify Duolingo’s identity across its growing list of products, which includes language programmes for schools, a universally accessible English test and the flashcard app Tinycards.

“[Duolingo] had built its previous brand very much for the app environment,” says Michael Johnson, founder and creative director of Johnson Banks. “As they started to think about broadening out, they realised they didn’t really have any rules at all.”

“When we first started talking to the team, we realised they had never even really found a viable way to write the word Duolingo next to their mascot, Duo,” says Johnson.

Keen to stay away from what he labels the “neutral, characterless, lowercase sans-serif typography” adopted across Silicon Valley, Johnson and his team began creating something “more representative” of Duolingo’s quirky personality.

“We came upon this left-field thought that instead of finding a type that would match with their existing visual elements, we could design a type from those elements,” says Johnson. With the help of typography specialist Fontsmith, the team created “Feather Bold”, inspired by mascot Duo’s “feathery form”.

“The first attempts looked bonkers,” says Johnson, “but the result is something that really stands out in the tech space.”

The development of bespoke typefaces to convey personality appears to be an emerging trend in tech spaces. Earlier this month, French digital healthcare start-up Alan’s rebrand included the creation of “cuddly graphic language,” which was in part inspired by its own animal mascot.

The new typeface helps to unify Duolingo’s communications across its outputs. To further support this, the Johnson Banks team also developed a clearer tone of voice, a revised selection of core colours and an illustration guide for the brand.

Source: Design Week

Any designer worth their salt knows that gradients are a versatile way to power your creations with a modern look. With gradients being all the rage over the past year, you might well want to start incorporating them into your own designs, so check out these gradient packs that will put you on the fast track to mixing them into your work with minimal hassle.

Creative & Vibrant Gradients Set

Olga Ryzychenko crafted the Creative & Vibrant Gradients Set to help designers achieve an ideal finished look for modern design projects. You’ll find 30 different gradients and 12 shapes (both vector and raster) in this set that are suitable for use as overlays, background, typography, web/mobile apps, and more.

Sunsets & Sunrises Gradient

This collection of Sunset & Sunrise Gradients by Creative Supplies Company provides you with 20 gradients inspired by those two magical times we experience every day. Suitable for all kinds of projects, you’ll find this bundle of gradients ideal for modern designs that need just a bit more flair.

Download our pastel summer palettes


20 Holographic Gradients

For equal parts vivid and soft, you’ll want to turn to Bold Leap Creative’s Holographic Gradients. This aesthetic is perfect for cool, calming modern designs (though the gradients do provide a limited touch of warmth), and the collection comes with 20 gradients in AI, Photoshop, EPS PNG, and JPEG file formats, at both 72 and 300dpi.

Abstract Gradient Backgrounds

If you want to dazzle with gradients that incorporate some abstract shapes and angles, you’ll want to go with the Abstract Gradient Backgroundscollection from joulenc. This set includes 14 polygon-style vector gradient backgrounds in JPG and EPS formats. You’ve got a range of colors to choose from, which cover both warm and cool hues and are perfect for weaving into blogs, banners, and posters.

Colordrop 50+ UI Gradients Bundle

The Colordrop Gradients Bundle by Nice Very Nice provides you with a hefty selection of more than 50 gradient backgrounds to incorporate into your work. These gradients are compatible with Sketch App, Photoshop, and HTML/CSS, and come packaged as high-quality JPEG files for you to drop into your designs with ease.

18 Abstract Blurred Backgrounds

Abstract, colorful, and gently blurred — these are the standout features of karetniy’s Abstract Blurred Backgrounds set. The collection includes 18 gradient backgrounds which come as 300-DPI JPEGS, and are suitable for use in both web and mobile applications that you want to imbue with a modern feel.

Blur3: 16 Blurred Backgrounds

Cardcandy’s Blur3 collection is a package of 16 blurred gradient backgrounds that run the gamut from dark and moody to warm and inviting. These gradients are perfect for adding some drama to your app landing pages, websites, and similar design projects, and come bundled as high-resolution PNG files.

Gradient Backgrounds Presets Volume I

Beautiful candy colors and subtly-shifting gradients combine in Makestudio’s Gradient Backgrounds Preset collection. This pack goes for the modern feel, with gradients suitable for a range of design projects, including websites, posters, and prints. With this set, you’ll get 12 high-quality PSD files to use as you see fit.

Holo & Rainbow Gradient Background Set

Anchors and Curves’ Holo & Rainbow Gradient Background set is perfect for posters, though, you can use these gradients as backgrounds on a multitude of other projects as well. You’ll get 18 hi-res vector/bitmap files in this collection, divided into 9 “smooth” and 9 “rainbow” gradients.

Liquid Gradients Collection

Liquid Gradients is an apt name for Polar Vectors’ collection of 36 “liquid droplet” gradients. These gradients come in a range of dynamic, high-energy shapes that you can cobble together into your own unique backgrounds, and come in vector and raster files so you can use them for a variety of projects.

Sky Gradients Overlays for Photoshop

Feingold Shop created the Sky Gradients Overlays collection with photography squarely in mind. These gradients are perfect for replacing the (possibly) boring sky in your shots with something more dynamic, and the set includes 50 PSD/JPG files for you to play with while enhancing your photos.

GENX Gradient Compositions Toolkit

Polar Vectors’ GENX Toolkit is a robust collection of gradient backgrounds, shapes, patterns, and overlays that will help you compose your own futuristic-looking designs for print and web projects. The entire kit includes 142 elements:  a combination of shapes (like circles, squares, and pyramids), and additional tools like brush strokes and typography.

Waves & Shapes Vivid

Olga Ryzychenko’s Waves & Shapes Vivid pack includes a selection of vibrant gradients combined with abstract shapes for use in modern-feeling design projects. The set includes 20 gradients in all, packaged as AI, EPS, and JPEG files.

Holographic Gradients

Polar Vectors’ Holographic Gradients perfectly embody the “light and sweet” end of the gradient spectrum, and go well with modern print and web design projects. The set contains a total of 60 holographic gradients, packaged as both high-quality EPS vector and JPEG raster files.

Gradient Design Pack

The simply-named Gradient Design Pack is anything but. These vivid gradients look great when included in both digital and print formats, and are suitable for use on social media pages, apps, and a range of print products like posters, business cards, and the like. The pack contains 24 gradients, available as AI, EPS, JPG, and PNG files.

Colour Gradients

Made by Chris gives you the essentials with the Colour Gradients set, a collection of 6 multipurpose gradients that feel at home on just about any design project under the sun. The pack has some range when it comes to file types as well, giving you AI, EPS, PNG, and JPEG formats for maximum utility.

Gradients are a useful tool for adding some extra pop to your creative pieces and bringing some life to flat design. Review some of the aforementioned options carefully, then dive in with the pack that best suits your needs and get to work making your work slicker than ever before.


Source: Creative Market

As the Bank of England reveals the face of the new banknote, we talk to its chief cashier about the note’s changing portraits and design features.

A render of the new £50 note, courtesy of Bank of England

The new £50 note will feature an image of scientist Alan Turing, celebrated for his pioneering work with computers. The choice was made after the public sent in over 200,000 nominations, spanning almost 1,000 figures in the field of science, before a final decision was made by Mark Carney, governor at the Bank of England.

The note will be made from polymer — a recyclable material — and is expected to enter circulation by the end of 2021. For its 325th birthday, the bank has put on an exhibition with a display of 325 objects.

We talk to chief cashier at the Bank of England, Sarah John, about the history of the £50 note and how its design has changed over nearly 300 years.

1725 note

The first £50 note, courtesy of Bank of England

“The 1725 note was part printed — the ‘promise to pay’ declaration that appears on all legal tender, the vignette (the portrait in the top left corner),the first digit of the denomination (5) and majority of the text were printed.

The other elements of the note were handwritten, including the date, issue number, cashier signature, and precise value — sums could be added by hand if necessary, resulting in a total monetary value that could be more or less than 50. Notes were used as a way of transferring money at the time, and not as everyday currency.

These banknotes were followed by notes with printed sum blocks — the rendering of the denomination in white writing on a black background — to deter alterations. A fully printed £50 banknote was first issued in 1855 and it was issued until the 1940s.”

1981 note

The Series D £50 note, courtesy of Bank of England

“The Sir Christopher Wren design was part of the Series D banknotes, first printed in 1981. This was the first series of banknotes to feature famous historical characters and they were designed by British artist, Harry Eccleston.

The process for choosing the characters involved a design committee which was composed of the governor, senior bank officials and external advisers — including art historians. Those involved in the process would produce a list of candidates.

From this, a short list would be created along with preliminary and speculative design concepts. The final choice for each denomination was made by the bank’s governor at the time, Gordon Richardson.

The connecting theme for Series D notes can be defined as ‘British cultural heritage’. Similar to our current banknote selection process, the characters considered for the banknote needed to be deceased and should have made a lasting, significant and widely recognised contribution to the UK.

Design elements were also considered when discussing the suitability of candidates — there had to be a useable and generally recognisable portrait available.”

1994 note

The Series E £50 note, courtesy of Bank of England

“The Series E banknotes, which featured Sir John Houblon on the £50, drew upon a more research-based approach to design than had been the case with earlier series.

The bank conducted research into how the public handle notes; colour was revealed as a major indicator of denomination, and so a decision was taken to maximise the difference in colour between the different denominations.

The designer, Roger Withington, used the reddish-brown hues of the earlier Series D notes — with Wren’s portraits — as the public had come to associate the £50 with that colour.

However, the red tones were intensified in order to create a greater differentiation, and thereby reduce any possible confusion, between this denomination and others in the series. Red is now inextricably linked to the £50 note.

1994 marked the 300th anniversary of the Bank of England. Houblon was the bank’s first governor, and Eddie George, who was the governor of the bank in 1994, decided that it would be fitting to mark this occasion on the new note.”

2011 note

2011 note
The back of the Series F £50 note, courtesy of Bank of England

“Matthew Boulton and James Watt were leading figures of the industrial revolution. Boulton was an entrepreneur, while Watt was an engineer and scientist who made revolutionary changes to the efficiency of the steam engine. In 1775, they formed a partnership to develop and market steam engines, and the designs were taken up worldwide.

Boulton and Watt’s steam engines and their other innovations played an essential role in the UK’s Industrial Revolution. They were chosen for this note as a reminder of their invaluable and entrepreneurial contribution towards advancing society.

The physical size of the £50 note made it feasible to include a double portrait, and so Boulton and Watt were chosen to be depicted together on the Series F £50 note.

Each new note is also an opportunity to review and enhance its security and counterfeit resilience. In the case of the Bolton and Watt £50, a new security technology called ‘motion thread’ was used for the first time on Bank of England notes and was introduced as an additional security feature.

The motion thread on the £50 note is woven into the paper. It has five windows along its length, which contain images of the ‘£’ symbol and the number 50. When you tilt the note from side to side, the images move up and down. When you tilt the note up and down, the images move from side to side and the number 50 and the ‘£’ symbol switch.”

2021 note

A render of the £50 note featuring Alan Turing, courtesy of Bank of England

“We introduced a new method of selecting banknote characters in 2014. Firstly, our banknote character advisory committee selects the field we want to represent and invites specialists in that field to join the committee.

Then we ask the public to nominate people from the chosen field. This ensures we are considering as broad a range of potential candidates as possible and listening to who the public would like to see represented on their banknotes.

In 2015, we used this method for the first time. The late artist Joseph Mallord William (J. M. W.) Turner was chosen to appear on our £20 banknote, which we will issue in 2020. For the £50 banknote character, we received 227,299 nominations, covering 989 eligible scientists.

Turing provided the theoretical underpinnings for the modern computer. While best known for his work devising code-breaking machines during World War Two, Turing first played a pivotal role in the development of early computers at the National Physical Laboratory and later at the University of Manchester. He set the foundations for work on artificial intelligence by considering the question of whether machines could think.

His legacy is all around us today. Computers form an integral part of modern life, from the way we work, to how we communicate and how we shop. It is Turing’s incredible scientific achievements that are reflected in the design, and the reason he was chosen to appear on the £50 note.”


Source: Design Week

Your wedding day is a special day to celebrate the love you have for your partner. Therefore, everything about it should be precious. A custom made wedding invitation can highlight your love story. We’ll be showing you a step by step guide on how to design wedding invitations. Save money and hang on to the memorable design forever. It is not that hard to create one from scratch, here’s how you can make one.

Pick a size and printer

Picking a shape is the first and foremost important step in designing an invitation card. Decide on shape, size, and place to print the cards. This will give you a headstart to start preparations and also to design accordingly. You will have the right specifications known to start working. A good option here is to go for the standard size. If you are sending cards by posts, then size would require extra postage. Look out for a place that can accommodate your printing requires, as not all shops can deal with some techniques. Get a print template next.

Visual theme designing

Think of the style you want to choose for your invitations. Spend some time looking for options and you can pick one which you and your partner like. If you have decided on a color theme for your wedding, you can also use the same color scheme in the design. Select on typography and other style flourishes. Once you choose a visual style, you have a fair idea of how your wedding invitation card would look like.

Collect images or create illustrations

You can put pictures on the invitations or just use illustrations. It totally depends on your choice. Whatever goes with your theme. Some people want to stay traditional, some keep in modern and others want something out-of-the-box. Also, you need high-quality photos as most printers require images to be at 300 dpi or more for printing.


Fonts play a big part in changing the tone of your design. Most people use scripts for a traditional design. However, you have a thousand more options to choose from. Think about the words going on the card and see how they will look in the font. It is a safe option to test typefaces with important information such as names of bride and groom, date, time, venue and secondary text such as “you are invited” or “join us”.

Print away

Now that your design is ready, you can start to test print. Always take out a few samples first as there is no room for mistakes. Double-check on everything before printing it out. Now invite your friends and family in style!


Source: Fuel My Brand

This month, you can suss out the brightest up-and-coming creative talent at D&AD New Blood Festival, learn about how the industry is dealing with gender equality and delve into the positive impact that visual art makes on hospitals.

Book: The Healing Arts

What: Designing visually pleasing and calming hospital interiors has often been found to make a positive impact on patients, families and staff alike – we only need to look at the work of Morag Myerscough for Sheffield Children’s Hospital, or BAT Studio’s relaxation room for cancer patients at Guy’s Hospital to recognise the difference such spaces can make to people’s experiences of medical care.

The transformation of spaces has moved beyond typical waiting rooms, treatment rooms and bedrooms, too – a few years ago, Unick Architects created a multi-coloured theatre and cinema space for Chelsea and Westminster Hospital, showing how design can extend beyond the basics in healthcare.

Now, the same hospital is releasing a book, which looks back at the last 25 years of its art in health programme, run by its charity, CW+. The book explores how visual arts, alongside music and performative art, have changed the environment at the hospital and created warmer, more welcoming spaces for patients, visitors and staff. The book will include essays on the impact of art and design on the hospital, through to colourful photography depicting the most notable projects from the last quarter-century.

When: Available to buy online now.

Where: UK-wide.

Info: The Healing Arts is published by Unicorn, and costs £15.

Festival and awards: D&AD New Blood 2019

What: D&AD’s New Blood programme look to celebrate up-and-coming creative talent, including students, graduates and those within three years of graduating. To do this, it hosts an annual ceremony, awarding those who have produced brilliant and thought-provoking work with D&AD’s coveted pencils. In recent years, New Blood has also branched out into a free, three-day festival of talks, workshops and exhibitions.

As well as showcasing award winners, it also displays the best work from design-related university courses from across the UK, across a broad range of disciplines, from graphic design and animation to advertising. It also features an agenda of speakers, which this year includes prolific freelance illustrator Ben Tallon, George Coffey, head of motion at animation studio Jelly and Karina Wilsher, global chief operating officer at ad agency Anomaly.

When: D&AD Awards takes place 11 July. D&AD Festival takes place 10-13 July.

Where: The awards take place at Oval Space, 29-32 The Oval, London E2 9DT. The festival takes place at The Old Truman Brewery, 91 Brick Lane, Spitalfields, London E1 6QR.

Info: Entry to the festival is free. Tickets still need to be ordered and printed in advance. Head to the D&AD New Blood Festival website for more info. Head here for more info on the D&AD New Blood Awards.

Talk: Kerning the Gap

What: In the latest in its series of advocacy events, Kerning the Gap, the not-for-profit organisation that promotes gender equality in design, is hosting a two-hour panel talk and networking session at product design studio Uniform, in Liverpool. The session panel includes Merle Hall, CEO at industrial design consultancy Kinneir Duffort, Neil Sheakey, design director at Uniform, Craig Oldham, creative director and founder at his own graphic design studio, Office of Craig, alongside Lynne Robertson from Santander and professional coach, Denise Chilton.

Expect the latest news around how the industry is doing in terms of the gender pay gap, challenges women are facing in getting into senior leadership roles and what can be done to tackle the imbalance. The design industry is notoriously male dominated, particularly at senior level – Design Week research has found that two-thirds of designers earning over £40,000 are male.

When: 9 July 2019, 5.45pm-8pm. Welcome drinks from 5.45pm, talks from 6.30pm and networking from 7.15pm.

Where: Uniform, 9-19 Bold Street, Liverpool L1 4DN.

Info: Tickets cost £5. Head here for more info.

Exhibition: Marie Neurath: Picturing Science

Cover for the Wonder World of the Seashore, 1956, with permission of Otto and Marie Neurath Isotype Collection at the University of Reading

What: A new show at the House of Illustration will explore the work of late, German immigrant graphic designer, Marie Neurath, who produced over 80 illustrated children’s books between 1944 and 1971. Half of these were dedicated to science education, and incorporated a combination of scientific research, illustration and communication design to teach young people about a diverse range of topics, from animal and plant biology to physics.

Her work was infographic and diagram-based and explored how they can be effective forms of communication when enhanced through beautiful illustration. To realise her work, Neurath led a team of researchers, artists and writers at data organisation, the Isotype Institute, to produce her books, combining many fields to present science in an engaging way. In heading up this team, she also challenged preconceptions around women and work at the time. The new exhibition will explore the three decades of Neurath’s work in the UK – she was Germany by origin and lived in the Netherlands until 1940 – including rough sketches, pay layouts and final book covers.

When: 19 July – 3 November 2019.

Where: House of Illustration, 2 Granary Square, King’s Cross, London N1C 4BH.

Info: Tickets cost £8, or £5 for concessions. Head to the House of Illustration for more info.

Exhibition: Typographic Dante

Courtesy of Barrie Tullett and National Centre for Craft and Design

What: Typographer and designer Barrie Tullett is putting on an intriguing and peculiar show at the National Centre for Craft and Design in Lincoln, which will see him depict the story of Middle Ages Italian poet, Dante Alighieri’s, masterpiece, the Divine Comedy through 100 typographic illustrations. Each piece of work has been meticulously made by hand-lettering techniques, such as wood and metal type, typewriter and Letraset, with the artist intentionally choosing “obsolete” technology to explore the 700-year-old text. The poem, which was written between 1308 and 1320, describes a journey through hell, purgatory and paradise, and is an exploration of a spiritual journey towards God. Typographer Tullett is also programme leader for graphic design at the University of Lincoln, and has written a book on typewriter art.

When: 6 July – 13 October 2019.

Where: Roof Gallery, The National Centre for Craft and Design, Navigation Wharf, Carre Street, Sleaford, Lincolnshire NG34 7TW.

Info: Entry is free. Head to the National Centre for Craft and Design for more info.

Other things to catch:

by Jon Burgerman


Source: Design Week

Chancellor Philip Hammond has announced help for small businesses, more technical courses and a funding boost for digital, tech and science in this year’s “mini-budget”, which comes amid Brexit confusion.

Courtesy of the BBC

As furore and uncertainty around the UK’s exit from the European Union (EU) continues to ensue, chancellor Philip Hammond has delivered his Spring statement for 2019.

The Spring Statement is delivered every year and is considered a “mini-budget” that sits alongside the main Autumn Budget. Rather than going into detail on spending, it takes a more general look at where the Government is planning to spend its money over the next 12 months, and the sectors it will invest in.

This year, Hammond’s speech has been shrouded by chaotic negotiations around Brexit, which reached a head this week when prime minister Theresa May’s exit deal was rejected for the second time. This led to a vote on a no-deal Brexit, which received a resounding no from members of parliament (MPs), and another vote on whether to extend the exit day beyond the expected date of 29 March 2019, which was approved. This is not legally binding, and by default the UK is still due to leave on 29 March.

Hammond began his speech by stating the need for a “smooth and orderly exit from the EU” to ensure the country receives the “economic boost” it needs and pressed that the UK should avoid a no-deal at all costs.

Despite Hammond stating that there are “other pressing matters” at hand, he went on to discuss areas that would receive funding, provided Brexit does not prove too turbulent.


Image courtesy of G Stock Studio

The chancellor has confirmed he will take steps to protect small businesses through cracking down on late payments made to them for services. Given that a large proportion of the design industry is made up of SMEs (small and medium-sized enterprises), sole traders and freelancers, this could help to improve workflow and business prospects.

Hammond says that it will be a new requirement for companies – design studios’ clients – audit committees, which assess financial matters, to review the company’s payment practices and report on them in their annual accounts, in a bid to encourage good practice.

Deborah Dawton, CEO at the Design Business Association (DBA), supports this decision and says that “cash flow is king” for small creative businesses. “Late payments can affect payroll, credit terms, interest rates and, in some cases, the very survival of a business,” she says.

She adds that the DBA will be asking members in this annual survey about this issue from now on, to help discover the extent of the problem and assess how government policy is making an impact over the coming years.


Courtesy of StockRocket

The chancellor is pushing for more technical and vocational courses, which could be an alternative to college or university and could help up-skill those who are currently unemployed or underemployed.

He has confirmed that he will roll out T-levels in September 2020, which will be two-year-long courses resulting in a qualification equivalent to three A-levels, run in collaboration with businesses. They will include an industry placement to provide “on-the-job” experience and look to help people either get into further education or employment.

The courses aim to fill skill gaps, and look at disciplines including accountancy, building services engineering, education, finance, health and manufacturing. There will also be T-levels aimed at craft and design, development, digital production and digital design.

Designers reacted to the announcement of technical courses last year, with some praising the decision to provide “young creative brains” with more “choice”, while others welcomed the move but questioned whether creative businesses, which are mostly SMEs (small and medium-sized enterprises), realistically have the resources to provide work placements.

Other initiatives announced include: a national retraining scheme, which looks to “upskill workers” and will include a careers guidance service, courses, and online learning focused on skills needed for “jobs of the future” such as coding and digital; and three million new apprenticeships in partnership with 2,000 businesses.

Jack Tindale, policy manager of design and innovation at think-tank Policy Connect, says that while steps towards technical upskilling are “welcome”, the Government’s focus on STEM (science, technology, engineering and maths) undermines the impact of the creative industries. He adds that there should be more of a focus on multi-disciplinary courses teaching different skillsets.

“The continuing preoccupation by policy makers with STEM belies the complex nature of the design economy and the tremendous contribution that arts and humanities can provide,” he says. “The chancellor would be better to recognise the cross-sectoral value of design and designers to manufacturing, and other areas of the economy.”

Sarah Weir, CEO at the Design Council, adds that Government must consider design skills in tackling the UK’s “productivity problem” around employment. The Design Council’s Design Economy 2018 report found that designers were 29% more productivein terms of profits made compared to the average worker.

Tech, science and digital

Courtesy of Media Photos

The chancellor has committed to keeping the UK at the “forefront of the technology revolution”, so is making international students taking postgraduate doctoral degrees (PhDs) exempt from visa caps, meaning they have limitless access to visas to study in the UK.

Tindale comments that this exemption should be extended to all international students, rather than only those taking PhDs, which would bring a wider pool of talent into the UK, given that many creative professionals only study to undergraduate or master’s level.

“As long as the UK’s art and design schools are unable to recruit the brightest and best candidates from around the world, they will continue to lose out to institutions in Canada, Australia and elsewhere,” he says.

Hammond has also announced that, as part of the industrial strategy, the Government is investing £7bn in science and innovation, including £81 million towards a new Extreme Photonics Centre in Oxford, that will look at developing new types of lasers, which could impact those working in areas such as three-dimensional (3D) printing, product and industrial design. Other funds include £79 million towards a new supercomputer, and £45 million towards genomics – genes and DNA – research.

Tindale says again that the Government should be focusing on long-term multi-disciplinary strategy, rather than “individual programmes”, adding that encompassing different fields into improvement plans would help to lead the “British economy on a more stable, inclusive and innovative path”.

The chancellor also announced tougher regulation and higher taxes on big digital platforms, to help improve business competition in the sector, which is currently dominated by a few big players. Digital advertising is also likely to face harsher regulation by government department, the Competition and Markets Authority, which could impact and change the work of advertising, branding and graphic design studios working on projects for big clients.

Environment and climate change

Courtesy of Ian Dyball

Finally, a new Future Homes Standard is being introduced — a set of guidelines that indicate how houses will generate energy in the future. The aim is for no more fossil-fuel heating systems to be installed in all new houses from 2025 onwards, which could create opportunities for socially-conscious companies and designers, which are working on creating sustainable energy-harnessing systems. This come alongside announcements to provide more housing, with plans to create a million new homes in the Oxford and Cambridge region by 2050.

Weir says that the Government must focus on sustainability, and welcomes the Future Homes Standard, but is concerned that this law does not come into effect for another six years.

“The effects of climate change are already evident across the UK and a more ambitious timeframe is possible and necessary,” she says.

The Design Council published its Healthy Placemaking report last year alongside research group Social Change UK, which looks at how buildings can be made to be less polluting, more environmentally-friendly and be better for people’s health in general.

Source: Design Week

Gensler has designed the space in central London with the aim of encouraging “integration” between teams and highlighting the brand’s heritage.

Design and architecture studio Gensler has worked with magazine publisher Hearst UK, to create new offices for the media company and bring all of its brands into the same building for the first time.

Hearst UK, which publishes titles including Elle, Cosmopolitan and Harper’s Bazaar, was previously located in two separate Soho, London offices.

All of its media brands have now moved in together in a newly designed space spanning five floors in Leicester Square, London.

The media company briefed Gensler to create a space which encourages collaboration and showcases the businesses’ heritage.

“Our goal was to drive integration and collaboration among teams and support cohesion and equality between brands,” says Christopher Crawford, senior designer at Gensler.

“For us this project was much more than a physical build – it was about creating culture that works across the entire Hearst family,” he adds.

The open-plan design for the newly named House of Hearst, includes a multitude of spaces for people to step away from their desks, work together or socialise, including a “flexible” reception area, central meeting suite, dining area and library space.

Meeting rooms have been moved to the centre of the space, allowing for desks to be placed around the outside, both letting in more light and creating better views, according to Gensler.

Areas have been designed for the creation of mood boards, which Crawford says are “an important part of Hearst’s creative process”.

Light wood panelling has been combined with black furniture, grey sofas and light-coloured walls, throughout the office, and lots of plants have been introduced.

Crawford says the studio has aimed to use colours that are “timeless, bright and sophisticated” and to bring a “residential quality” to the space, creating a “calming” atmosphere.

As well as traditional signage, digital signs are used in the building, which Crawford says allows Hearst to choose whether to keep a space neutral or add “brand specific personality” when needed.

“If Elle was hosting an event, for example, the space can be transformed to highlight the colours, tone and feel of their brand,” he says.

Key design features include a plaque wall, with the branding of each of Hearts’s publications engraved on a plaque, as well as “portal” corridors.

“The portal has a mesh display grid which has been created for brainstorming sessions,” Crawford says. “Notes can be hung, materials can be displayed, and styling of outfits can be hung on wall space.”

Hearst’s “H” logo appears throughout the building in various forms, for example, made out of lights inside an infinity mirror.

A library has been filled with back-copies of Hearst publications and competitors titles and also contains digital content, as the company takes steps to become paperless.

Hearst UK has now moved into its new office.

Source: Design Week

The in-house design team at ITV has curated a year-long project, which will see different artists, designers and photographers reinterpret the TV channel’s branding.

ITV has launched a year-long creative initiative, which will see 52 artists create animated versions of its logo that will appear on its main TV channel as idents.

The project, called ITV Creates, will see a range of creative people, including graphic designers, illustrators, photographers and artists, reinterpret the ITV logo in physical form. These will then be animated by ITV Creative, the channel’s in-house agency, and each one will run on TV for a week throughout 2019.

It has been organised by ITV Creative alongside independent artistic director Charlie Levine, who have collaboratively sourced the 52 artists that will take part in the project.

Idents that “live in the real world”

by Katrina Russell Adams

Tony Pipes, executive creative director at ITV Creative, says the brief given to the artists was “quite open”, with the only restrictions being that their artworks needed to be made from physical objects before being animated, and that they should be based on ITV’s typographic logo.

The 52-week-long creative project aims to express the channel’s new brand message of “more than TV”, Pipes says.

“The pieces should be able to live in the real world, beyond their on-air presence and touch an audience in different ways,” he adds.

The artists work across different visual arts disciplines and are from a “diverse range of backgrounds”, says ITV, including both up-and-coming and established creatives.

“Creative organisations can often be insular, so we wanted to open the door and look out, to make our palette richer and the adventure more exciting,” says Pipes. “We wanted it to reflect how ITV opens the door to different writers, directors and performers.”

The idents are being produced throughout 2019. Currently, the first eight idents have been made, which will run throughout January and February.

Project launches with photographer Ravi Deepres

by Ravi Deepres

The first ident comes from artist, photographer and film-maker Ravi Deepres, who has used still and moving photography of landscapes and cityscapes to overlay the ITV logo.

Another two artists who are set to appear in the first eight weeks include Mark Titchner and James Brunt. Titchner has used sound and vibration to reinterpret the logo, while Brunt has used natural material he collected from forests, then later returned, to inform the shapes and colours of his logo.

The project will also see a month dedicated to student artists, whereby ITV Creative will work with universities across the UK to source talent, in a bid to give young artists “opportunities”, says ITV.

Ever-changing on-air look

by James Alec Hardy

Pipes says that the year-long project aims to challenge the idea that TV idents should stay consistent for a long time.

“Idents have traditionally just been used as markers, a moving wallpaper that stays the same on air for years,” he says. “We wanted to break this mould and create something that is always changing. We thought — why not use air-time as an opportunity to showcase talent from the creative community?”

ITV Creative has also tweaked its broadcast logo, working with design studio DBLG. The wordmark is the same, but it now has a cut-out appearance made from three, coloured layers, helping it appear more physical.

ITV’s creative project follows suit with other broadcasters revamping their on-screen branding and idents in recent years. This includes Channel 4, which launched a deconstructed version of its classic Lambie-Nairn-designed logo in 2015, completed by the channel’s in-house team, 4Creative, alongside DBLG. A more recent example is BBC Two, which launched its first rebrand in 20 years in 2018, alongside a new set of animated idents that also opted for a more tactile, physical look.

ITV Creates has now launched with Ravi Deepres’ artwork. Each ident will run on-air for one week, on ITV’s main broadcast channel.

By James Brunt
by Sutapa Biswas
by Patricia Volk