#jonny lu studio

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Jonny Lu Studio / IDEA / Norbert Schoerner: Prada Archive 1998–2002 / Book / 2024

[grrlmusic]

Norbert Schoerner - PRADA ARCHIVE 1998-2002

[migatito]

kiko mizuhara by jonny lu studio

[brokentreeonline]

We're All Going To Die from Stefan Hunt on Vimeo.

We’re All Going To Die takes on the simple task of exploring the meaning of life. Through colour, imagination, humour and fart jokes, Director Stefan Hunt asks you to look at the what ifs, the why nots and the oh wells that might flash before your eyes when paid a surprise visit by Death. With your internal monologue played by Jared Jekyll and Death played by Hugo Weaving (The Matrix, Lord of the Rings), you’re prompted to get existential whilst grinning from ear to ear during this independent short film of fantastical weirdness.

The film is an adaptation from Stefan Hunt's illustrated book 'Were All Going To Die' and part of a multimedia extravaganza of that same name that was launched in October 2017. The project uses death and art to empower its audience to fear less & live more. "Years ago I was crippled by fear. Reminding myself that I'm going to die has changed my approach to life. It's the most powerful force to live by." says Hunt, who independently funded this project alongside a successful Kickstarter campaign.

A huge thank you to everyone who has been part of the journey. Let's keep kicking fear in the balls.

For more information visit - wereallgoingto.com Official book available here - wereallgoingto.com/book

Director - Stefan Hunt Producer - Yingna Lu Director of Photography - Campbell Brown Editor - Stefan Hunt Man - Jared Jekyll Death - Hugo Weaving Production Designer -Ian Kanik Art Director - Mohini Herse Art Director - Courtney Covey Costume Designer - Christina Bouzios Costume Designer - Rosa Spring Voss Hair and Make Up - Katy Clucas Hair and Make Up - Lisa Mangion Sound Composer - Jonny Higgins Casting Director - Felicity Byrne Unit Production Manager - Maren Smith Unit Production Manager - Nicole Hofstädter 1st Assistant Director - Stuart Beedie Stunt Coordinator - Mark Duncan (TwinStar Stunts) Stunt Rigger - Neal Horton Production Assistant - Olivia Carolan Production Assistant - Yasmin Blake Production Assistant/Reader Emele Ugavule 1st Assistant Camera - Joel Eames 1st Assistant Camera - Sid Tinney 1st Assistant Camera - Tim Keith 2nd Assistant Camera - Luke Tysoe 2nd Assistant Camera - Chris Moore 2nd Assistant Camera - Rhavin Banda BTS Jack Shepherd Wardrobe Assist - Amber Theron Gaffer - Mat Wilson (Focus Film Lighting) Gaffer - Steve Schofield (Lumen Arty) Best Boy - Nathan Grant Best Boy - Richard Hawkins Best Boy - Charles Gray Key Grip - Chris Davies Sound Recordist & Boom Operator - Martin Demian Stills Photographer - Sam Shepherd Locations Services - Emelie Fagerman and Alex Intihar from Search Party Locations Online Editor / Colourist - Matt Fezz VFX Supervisor - Matt Fezz VFX Supervisor - Matt Campbell Storyboard Artist - Amber Theron Graphic Designer - Sam Shepherd Designer - Hui Ying Kao Designer - Courtney Brookes Animator - Andrew Khosravani Animator - Michael Chen Post Sound Supervisor - Jonny Higgins Voice Over Recordist - Rob Hughes Voice Over Recordist - Simon Lister VO recorded at Nylon Studios Special Thanks to; Paper Moose Crater Studios Mrs Nina Tattoli Vanessa Marian Helena Rosebery Southern Cross Cameras Australia Stef Smith Matt Pike Whitney Oliver Alexandra Kent Adam Benton Liam Riley Ant Pawley Kei Yokokawa Williams Management Andrew Wilkinson (Sydney Prop Specialists) Alt.vfx

[oneyearofbooks]

Jamie Hawkesworth, A Study of Human and Animal Habitants

Jonny Lu Studio, 2017

[trensu]

Jon's Creeping Terror Fun Fact Corner!

You know how Cecil has his Fun Fact Science Corner segment on his radio show? Well, Jon has his own show produced by The Magnus Studio. It's an educational kids show all about the Entities of Fear!! It's a very specific kind of kids show. You know the ones. Those kids shows that children are absolutely mad for but any adult in their vicinity is left deeply unsettled by them? Yep. On the surface, the show seems fine but if any adult dwells on the content for more than five minutes, they are left feeling very very unnerved, especially since the host, one Jonathan Sims, seems more than a little unhinged half the time.

The show is so popular it gets almost 15 whole episodes! (It gets cancelled at 14 bc at that point it had received far too many retrospective complaints from parents to continue any further). Sometimes, the episodes even have special guests!! Although it got cancelled, you can obviously still find it on the internet if you know where to look. There's even compilations of all the show's best Unhinged moments.

--

The Vast Episode

Jon: Today's episode is about the Vast! And to tell us more about it we have Simon Fairchild visiting us. Kids, if you ever see this man in person, please run very far in the opposite direction.

Simon: Thank you for that warm introduction, Jon. Now children, who here likes ROLLER COASTERS?

Jon: And that's it for our special guest [proceeds to literally kick an old man until he's off screen] Do not trust this man and please be careful when going on roller coasters in the future.

--

The Lonely Episode

Jon, reading from the teleprompter: We have an expert of the Lonely with us, Mr. Peter Lu--what? No!! Why's he here? Get him off my set! What do you mean no? I don't care how much funding he gives the studio!! He tried to take Martin away!

[scene cuts off and starts back up with Martin sitting next to Jon, looking particularly sweet and cuddly in a knitted jumper]

Jon: Here we have m-my Martin, I-I mean my ASSISTANT Martin Blackwood. Say hi to Mr. Blackwood, children.

[Jon is a twitchy mess and cannot even look at Martin's direction. Martin looks flushed]

Martin: Er, yes, h-hello.

Jon: Martin has experience [this is hissed with all the venom he can muster] with the Lonely. He's going to teach us the best way to avoid that evil, conniving bast--

Martin, hastily cuts in: Yes, well! Kids, who do you have in your life that you love? It can be anyone! Your siblings, your pets, your friends! Anyone at all!

[at the edge of the set, just barely visible, Peter can be seen crammed into a cage gleefully guarded by Daisy]

(it's during this episode Jon finds out that he's not allowed to use naughty words on the show. All the stuff with the murder and the skinning and the worms and such is fine! Just no cussing. Jon is befuddled and aghast. This is why Hopworth was not allowed as a guest; he's a very swear-y man)

--

The Corruption Episode

[Jon is seen clutching a jar of ashes throughout the entire episode with absolutely no explanation as to what it is or why it's there]

Jon, gesturing manically: and that's why it's important to see a doctor when you're sick and have an exterminator on speed dial.

[Martin comes onto the scene with a worried look on his face. The screen goes to black for a moment, then reappears with Jon still clutching his jar but looking significantly calmer. He smiles at the camera and it almost looks normal]

Jon: To finish the episode, can you demonstrate the proper handwashing technique we taught you at the start? Be sure to tell your parents what you've learned about infection control and have them show you where the CO2 is kept in your home!

--

The Hunt Episode

Jon, earnestly happy: This is my best friend Daisy! She's going to help us learn about the Hunt. She's one of the bravest people I know.

[Daisy turns away to hide a shy smile before clearing her throat and starting in on a rehearsed lecture. The episode ends with her and Jon making the children repeat the "don't listen to the blood, listen to the quiet" mantra and also "all cops are bastards."]

(Basira, in post production: ...yeah, that's fair.)

--

The Flesh Episode

Parents are horrified when they hear their children singing "you are what you eat, meat is meat!" whenever they play after that episode airs.

(Martin: Just to be clear, we're encouraging cannibalism??

Jon: no! ...maybe? i don't know, Martin, they told me it tested well with the focus group children

Martin: yes, okay, but WHY did you come up with that jingle?

Jon: Don't look at me like that, I'm not crazy, Martin! I wouldn't just eat a person. But, well, if someone asked me to eat them like, after they died, I wouldn't necessarily say no...?

This conversation was recorded and leaked somehow. And that's how Actual Cannibal Jon Sims became a trending meme. He has to do a PR statement confirming that he "has never knowingly eaten a person" and that that was "a completely hypothetical discussion." This convinces as many people as you think it would.)

--

The Stranger Episode

Nikola: I don't much like children. Not enough skin on them to do anything really fun.

Jon: Why are you--how did you even get in?? S-Security! Someone come get her out of--

Nikola: oh, but I have information for the little ones! [she pulls out a basket of high-end skincare products and looks directly into the camera with her featureless face] These are the lotions that are best for Archivist flesh but I'm sure they work for the kiddies as well! You all want to grow up to have lots of beautiful skin don't you? Here, let me show you how to use them! [attempt to lotion Jon]

Jon: [flinches away] Security! O-or Daisy. DAISY!

[growling is heard and we get a flash of a wolfish Daisy body-slamming Nikola to the ground. The rest of the episode has Tim shoving Jon off screen and going on a rant about circuses and how to best explode them. This becomes one of their most popular episode amongst the children]

--

Breekon and Hope show up occasionally in the background of various episodes and become something like an Easter egg for fans of the show.

Anyway, I love the idea of kids adoring socially awkward, neurotic mess of a man Jonathan Sims. Jon is completely confounded by his popularity but also, he's glad of it bc that means the children will be more prepared if they ever encounter any of the Entities (most parents think it's all fiction, except for the ones who've had Encounters with one of the entities; Jon ends up with a sort of underground cult following comprised of survivors of fear encounters)

I blame @lemonisinplay (and Jonny Sims) for the entirety of this post, tbh. She came up with the name and half the stuff here XD

[trustyourblood]

Jonny Lu Studio now represented by mini title

[doctorwhonews]

Torchwood: Aliens Among Us - Part 1

Latest Review: Written By: James Goss, Juno Dawson, AK Benedict Directed By: Scott Handcock ​Lead Cast: John Barrowman (Captain Jack Harkness), Kai Owen (Rhys Williams), Tom Price (Sgt Andy Davidson), Paul Clayton (Mr Colchester), Alexandria Riley (Ng), Jonny Green (Tyler Steele), and Eve Myles (Gwen Cooper) Supporting Cast: Stephen Critchlow (The Mayor), Rachel Atkins (Ro-Jedda), Ruth Lloyd (Vorsun), Sophie Colquhoun (Madrigal), Rhian Marston-Jones (Quenel), Lu Corfield (Brongwyn), Rhys Whomsley (Osian), Sharon Morgan (Mary Cooper), David Sibley (Vincent Parry), Sam Béart (Catrin Parry), Anthony Boyle (Hotel Manager), Sam Jones (Toobert Jailert), Wilf Scolding (Personal Trainer) ​Released by Big Finish Productions - August 2017 In receiving the licensed green light to revive Doctor Who’s first full-fledged TV spin-off show, Torchwood, as an ongoing series of audio dramas in May 2015, Big Finish set themselves arguably their most daunting challenge since embarking upon a mission to do likewise for Who back in 1999. Like its mother show in the 1970s, the four season-strong, adult-geared BBC sci-fi drama had reached the height of its televisual powers by 2009, producing an award-winning miniseries in Children of Earth which suggested its writers had finally perfected their efforts to blend universe expansion with compelling, mature storylines capable of attracting newcomers alongside ever-devoted followers of the Doctor. Just as the arrival of iconic figures like Colin Baker, Sylvester McCoy and John Nathan-Turner bred behind-the-scenes troubles which ultimately sealed Who’s 19-year hiatus, however, so too did Torchwood’s golden age of on-screen success reach a swift, turbulent crescendo just moments after its apex. The Starz-produced fourth season Miracle Day lacked the narrative momentum, multi-faceted supporting characters or overall British charm which had reaped Children of Earth such universal acclaim two years beforehand, once again prompting a previously beloved sci-fi saga to enter an indefinite purgatorial state, particularly as its showrunner Russell T Davies faced heartbreaking personal struggles not long after the run’s Summer 2011 broadcast. But between their sensational opening trio of monthly runs featuring beloved characters like Gwen Cooper, Toshiko Sato, Ianto Jones and of course the indomitable Captain Jack Harkness (if you’ve yet to try The Conspiracy, Uncanny Valley, Zone 10, Broken or Corpse Day, then head to Big Finish’s website when you’re done here and remedy that error), the tremendous The Torchwood Archive serving as both a fitting series coda and 10th anniversary special, and box-sets like Before the Fall offering profound insights into the titular secret agency’s mysterious past, Big Finish have more than confirmed their status as the brand’s perfect gatekeepers for the foreseeable future. Next up on their agenda, then? Continuing the story where Miracle Day left off, albeit making a few welcome course corrections en route to ensure that Season Five doesn’t trigger another near-death experience for Torchwood. Even with the support of the mighty Russell behind them, can the studio pull off such a Herculean feat, no longer simply hopping between eras of the show for standalone romps but instead conveying a whole new arc over the course of 12 episodes and three box-sets? Let’s begin the quest to find out with Aliens Among Us – Part 1, evaluating each of the four hour-long instalments in detail before ascertaining whether James Goss and company should ever have bothered embarking upon this audacious campaign… Changes Everything: “Torchwood is dead.” There’s an unmistakable sense of irony about wright James Goss’ decision to invert the title of Torchwood’s pilot episode in naming Season Five’s opener. While the Cardiff of “Changes Everything” has undergone no shortage of transformations, between mass immigration, mass homelessness and mass alien infiltration, while Jack and Gwen were fighting to end the Miracle in the US of A, this compelling first chapter largely works to re-establish much of the show’s pre-Miracle Day status quo, from the shattered but still intact Hub to the team’s iconic SUV to Jack and Gwen back in business at Torchwood Three’s helm. Much of the real change, then, comes with Goss’ introduction of two deliciously morally and psychologically complex new – potential in one case – recruits to the team this time around. Enter the irritable but courageous civil servant Mr. Colchester and the intrepid but concerningly ruthless ex-paparazzi Tyler Steele, the former of whom comes off as initially closed-minded yet has plenty more to him than meets the eye and the latter - brought brilliantly to life as an unashamedly slimy rogue by Jonny Green - bound to rile most listeners with his self-serving rationale as much as he does the rest of the team. For reasons that will become obvious by the end of the hour, Russell’s influence upon the characterisation of these two new players is as clear as daylight, lending them the same dramatically layered but equally realistic personalities that one would expect of any of the Doctor’s 2005-2009 companions or indeed any employee at Torchwood until the Miracle. It’s thanks to this pair of ever-evolving characters largely taking centre-stage – especially in Tyler’s case – here that a somewhat necessarily by-the-books set-up storyline revealing the existence of an unseen alien community pulling the strings in Cardiff remains thoroughly engaging to sit through, though that’s not to say the plot doesn’t pack any dramatic heft in its own right. Much as we’ve encountered plenty such shady organisations such as those behind Season Four’s Miracle or indeed the Committee at the heart of Big Finish’s Torchwood monthly range to date, that the latest foes to emerge from the Rift provoke racist sentiments and terror attacks across Wales’ capital city gives “Changes” a disturbingly relevant edge, the depiction of bombings taking countless lives sure to unsettle anyone following today’s headlines but all the more relevant a subject matter for the show to tackle. As with most season premieres aiming to kick-start a season-spanning arc, the extra narrative legwork “Changes” must perform ultimately robs the opening outing of the chance to become a stellar standalone outing, but even so, by injecting the show with a fresh, volatile new team dynamic at Torchwood Three and harrowing poignancy via its topical real-world ties, Goss sets Aliens Among Us off on a promising trajectory indeed. Aliens & Sex & Chips & Gravy: “Right then, let’s go to a hen night.” Has any episode title ever served to summarised the core tenants of Torchwood as a work of mature yet oft-hilarious drama than the epithet Goss attributes to Season Five’s sophomore outing? Probably not, but thankfully the man responsible for helming the brand at Big Finish doesn’t get complacent off the back of this unparalleled achievement, instead finding time to devise a largely isolated storyline which dedicates almost an hour’s worth of time to developing bothEve Myles’ Gwen and Paul Clayton’s Colchester, not to mention exploring the fascinating interplay between these two world-wearied soldiers as they march into one of their most unlikely – not to mention hugely comedic – missions yet. Laden with outrageous set-pieces ��� from absurd hostage situations to drunken car chases – and unsubtle but warranted politico-religious commentary, Goss’ script follows these veteran crime-fighters in their efforts to determine how young Madrigal’s upcoming wedding nuptials are connected to the still-mysterious powers manipulating Cardiff for their own ends, only for their investigation to result in the increasingly inebriated Maddie causing them no shortage of explosive grief throughout the night. One does admittedly get the sense as “Aliens & Sex & Chips & Gravy” progresses that Goss thought this delightfully disbelief-uprooting premise was entertaining enough to fuel an entire hour of audio drama, since the second act of proceedings feels rather padded, throwing in convoluted further plot developments and additional characters who don’t add a great deal to proceedings beyond further exposition surrounding the nature of Madrigal’s betrothal. All the same, with Myles and Clayton on top form as they explore how their respective characters deal with leading lives of near-total dishonesty when balancing work with family ties, with Sophie Colquhoun’s Madrigal serving up a veritable array of painfully chuckle-worthy one-liners with each successive pint consumed, and with Goss even finding time to resolve loose plot threads from Titan Comics’ Torchwood strip by revealing the fate of the Ice Maiden’s crew, “Gravy” achieves more than enough in its running time – and builds more than enough intrigue for what’s to come – to stave off any occasional sense of plot tedium. Most importantly of all, that Episode 2 gave yours truly the joy of writing out its pitch-perfect title in full for this review is reason enough for its existence. Orr: “Who knew there was an alien black market right in the middle of Cardiff city centre?” Clearly not content with allowing Goss to expand Torchwood’s core roster with Colchester and Tyler, Juno Dawson adds another player into the mix with Orr, a third RTD-endorsed recruit whose alien heritage affords her some, well, alluring abilities that play glorious havoc with each member of the team here. “Orr” once again marks a near-complete tonal departure from its immediate predecessor, returning to explore the haunting implications of extremist fanatics for a Cardiff already at economic war with itself, while also throwing in aspects of romance and series-changing tragedy for good measure along the way. As one might well imagine, handling such a delicate balancing act – and having to carry the burden of progressing Aliens Among Us’ overall arc in a far more substantial manner than “Gravy” with the full-scale arrival of the season’s core antagonist – would prove a challenging at best prospect for even the most accomplished of scribes. Sure enough, what with tackling weighty concepts like housing shortages, illegal commercial transactions hidden in plain sight and shapeshifts forced to cater for their onlookers’ sexual fantasies, Dawson can’t quite avoid imbuing “Orr” with a lingering sense of tonal discontinuity at times, struggling to decide whether to focus on the hearty laughs Orr’s powers inspire, the aforementioned topicality of her plot or indeed setting up a twist set to inextricably alter Aliens Among Us’ trajectory for the next nine episodes. Thank goodness, then, that the merits of those individual plot and character threads are strong enough to leave the listener suitably chortled, emotionally wrought and ultimately captivated to discover what lies around the corner as soon as the show’s iconic end credits sting kicks in. As shown by her sublime Torchwood one-off outing The Dollhouse back in April, when left to her own devices Dawson’s got more than enough comedic and dramatic chops to pull off a standalone storyline for the range, but even if “Orr” can’t quite match that entertaining Charlie’s Angels-riffing adventure’s lofty heights, as a penultimate instalment for Part 1 it’s got more than enough to keep fans and newcomers alike engaged. Superiority Complex: “All life is equal – animal, mechanical and everything in-between.” Those wanting Part 1’s concluding instalment to serve as a gripping mid-season finale which leaves one desperate to hear the next four episodes might need to restrain those expectations somewhat. Much as “Superiority Complex” affords the whole team plenty to do as they infiltrate a prospering alien hotel to determine the source of recent on-site murders, with John Barrowman clearly relishing Jack’s newfound role as a typically flirtatious barman and Orr’s abilities granting her unprecedented access to employees’ psyches, it’s certainly not concerned with resolving or substantially progressing many plot threads established so far, barring a last-minute cliffhanger which promises dire straits for Torchwood Three come October’s Part 2. With that disclaimer out of the way, though, listeners can focus on simply enjoying the sheer lunacy of the team’s present situation, one member hiding a particularly juicy secret as she spars wits with disgruntled guests and Orr’s encounters with the hotel’s true management proving both ridiculous and tangible given the current exponential growth of artificial intelligence. Between uniting Jack with a British monarch in The Victorian Age and transforming Cardiff into a disease-ridden warzone in Outbreak, AK Benedict  is no stranger to devising logic-eschewing premises anyway, but “Complex” tests the extent to which your disbelief can be suspended like never before, an experiment which if nothing else ensures an unpredictable listening experience presumably akin to watching an episode of the original TV series while under the influence of narcotic substances. Better yet, come Episode 4’s credits we’re left with the unmistakable, gratifying sense of a truly reinvigorated Torchwood, one packing a familiar status quo but with revitalising new elements in the form of the team’s latest recruits, and the fresh, unstable dynamic between protagonists old and new ensuring that both the standalone and arc-orientated instalments compel. If Goss and company could work to justify Kai Owen and Tom Price’s top billings as Rhys and Andy – neither of whom get much in the way of dramatic meat until “Superiority” – next time around, and develop the elusive Ro-Jedda as a multi-dimensional antagonist for Jack et al to battle, then Part 2 could take the show to Children of Earth-rivalling heights once more, but for now, the show’s well and truly back on form, and long may it reign as such at Big Finish. http://reviews.doctorwhonews.net/2017/08/torchwood_aliens_among_us_part_1.html?utm_source=dlvr.it&utm_medium=tumblr

[artwalktv]

We’re All Going To Die takes on the simple task of exploring the meaning of life. Through colour, imagination, humour and fart jokes, Director Stefan Hunt asks you to look at the what ifs, the why nots and the oh wells that might flash before your eyes when paid a surprise visit by Death. With your internal monologue played by Jared Jekyll and Death played by Hugo Weaving (The Matrix, Lord of the Rings), you’re prompted to get existential whilst grinning from ear to ear during this independent short film of fantastical weirdness. The film is an adaptation from Stefan Hunt's illustrated book 'Were All Going To Die' and part of a multimedia extravaganza of that same name that was launched in October 2017. The project uses death and art to empower its audience to fear less & live more. "Years ago I was crippled by fear. Reminding myself that I'm going to die has changed my approach to life. It's the most powerful force to live by." says Hunt, who independently funded this project alongside a successful Kickstarter campaign. A huge thank you to everyone who has been part of the journey. Let's keep kicking fear in the balls. For more information visit - http://bit.ly/2QrNqIo Official book available here - http://bit.ly/2xY9svK Director - Stefan Hunt Producer - Yingna Lu Director of Photography - Campbell Brown Editor - Stefan Hunt Man - Jared Jekyll Death - Hugo Weaving Production Designer -Ian Kanik Art Director - Mohini Herse Art Director - Courtney Covey Costume Designer - Christina Bouzios Costume Designer - Rosa Spring Voss Hair and Make Up - Katy Clucas Hair and Make Up - Lisa Mangion Sound Composer - Jonny Higgins Casting Director - Felicity Byrne Unit Production Manager - Maren Smith Unit Production Manager - Nicole Hofstädter 1st Assistant Director - Stuart Beedie Stunt Coordinator - Mark Duncan (TwinStar Stunts) Stunt Rigger - Neal Horton Production Assistant - Olivia Carolan Production Assistant - Yasmin Blake Production Assistant/Reader Emele Ugavule 1st Assistant Camera - Joel Eames 1st Assistant Camera - Sid Tinney 1st Assistant Camera - Tim Keith 2nd Assistant Camera - Luke Tysoe 2nd Assistant Camera - Chris Moore 2nd Assistant Camera - Rhavin Banda BTS Jack Shepherd Wardrobe Assist - Amber Theron Gaffer - Mat Wilson (Focus Film Lighting) Gaffer - Steve Schofield (Lumen Arty) Best Boy - Nathan Grant Best Boy - Richard Hawkins Best Boy - Charles Gray Key Grip - Chris Davies Sound Recordist & Boom Operator - Martin Demian Stills Photographer - Sam Shepherd Locations Services - Emelie Fagerman and Alex Intihar from Search Party Locations Online Editor / Colourist - Matt Fezz VFX Supervisor - Matt Fezz VFX Supervisor - Matt Campbell Storyboard Artist - Amber Theron Graphic Designer - Sam Shepherd Designer - Hui Ying Kao Designer - Courtney Brookes Animator - Andrew Khosravani Animator - Michael Chen Post Sound Supervisor - Jonny Higgins Voice Over Recordist - Rob Hughes Voice Over Recordist - Simon Lister VO recorded at Nylon Studios Special Thanks to; Paper Moose Crater Studios Mrs Nina Tattoli Vanessa Marian Helena Rosebery Southern Cross Cameras Australia Stef Smith Matt Pike Whitney Oliver Alexandra Kent Adam Benton Liam Riley Ant Pawley Kei Yokokawa Williams Management Andrew Wilkinson (Sydney Prop Specialists) Alt.vfx

[jeremystrele]

How To Ace Apartment Living

How To Ace Apartment Living

Interiors

Lauren Li

Sophie Ashby of Studio Ashby and her husband Charlie Casely-Hayford live in this restored 1950s former BBC Television Centre Helios building in west London. Sophie designed the interiors to be versatile yet still with loads of interest and personality. The custom wall unit allows the artwork to slide across to reveal the TV. Photo – Alexander James. Interiors –  Studio Ashby. Styling – Olivia Gregory.

I’m not talking about apartments today, I’m talking about homes. The kind of apartments that people actually live in, because apartments should not simply be financial packages. Apartments can be spaces with a personality just like a house, and look beyond the bare, white wall ‘AirBnB’ aesthetic. I’m really excited about this story, because almost two years ago we moved from our little place by the beach to an inner-city apartment. Our little family loves it.

Sure, apartment living is not for everyone, however all around the world, from Stockholm to Hong Kong, New York to Paris, families are living in apartments. Here in Australia, we are building a lot of apartments (there are 123 cranes in the sky in the Melbourne CBD and 60% of the construction is residential) but there is still a mindset that a family with kids need a backyard and white picket fence.

However, a strange thing is happening. Australia builds some of the biggest houses in the world and at the same time, there are fewer people living in each house than ever before. Picture big houses sprawled out at the edges of the city, with a sprinkling of people living alone. To me, that sounds quite lonely. Apartment living, on the other hand, has the ability to foster real community. In an apartment building, when we step outside our door, we see people and, quite surprisingly, we see the same people. And this, folks, is where community begins.

It’s kind of nice walking down the street and waving at Jags, our friendly coffee guy, or glimpsing through the window to see Joey cutting hair. Or walking past the window of the Chinese restaurant, as the chef chops off a roast duck’s head on the chopping block! Seeing these little interactions of life happening around my family feels good (maybe not the duck). Having people around also means great Neighbourhood Watch and that makes me feel very safe. Passive surveillance doesn’t happen so much on a quiet cul-de-sac where no one is around.

I know what you’re thinking ‘those poor kids need a backyard’. You’re right, we don’t have our own backyard, so our backyard is Fawkner Park. It can be an effort to get out of the house, and go to the park but once we’re there, we absolutely love it. Our kids know half of the kids there from school and childcare, so it ends up being an accidental playdate. They are sociable little people! Maybe one day we might move, but for now, this suits us perfectly.

Below are some reflections on how we’ve optimised the space we have, and tips for you to do the same too!

Sophie didn’t let the compact space stop her from decorating in her signature maximalist style with patterns, colours and gorgeous moments everywhere. Photo – Alexander James. Interiors –  Studio Ashby. Styling – Olivia Gregory.

The small entry of Marcus Hay’s former New York apartment didn’t stop him from thinking big when displaying artwork. This entry is decorated like a gallery and although small, it is rich in stories and layers. Interiors – Marcus Hay. Photo – Jonny Valiant.

The living room, which gets flooded with natural light. ‘Meditating is a big part of my world, so it’s a beautiful spot to sit in the mornings with the sun falling on your face,’ Paris explains.  Interiors – Marcus Hay. Photo – Caitlin Mills for The Design Files.

Paris had this sofa made specifically for her Collingwood apartment and it looks like she’s chosen comfort and style in equal measure. Photo – Caitlin Mills for The Design Files.

A city girl ‘through and through’, Paris has lived between warehouses and apartments her whole life. This has encouraged a very thorough ‘less is more’ mindset when it comes to her living spaces – who knew bathrooms this minimal could exist?! Photo – Caitlin Mills for The Design Files.

Think Big

The number one mistake that you can make in a small space, is to fill it with tiny furniture. It may seem counter-intuitive to have one large comfortable sofa in a small space, however it’s better than a few small armchairs.

Rather than have lots of smaller pieces cluttering up a small space, go for fewer, larger pieces. Same goes for artwork – just because a room is on the small side, doesn’t mean you can’t go floor to ceiling with a WOW factor painting or print. In many spaces, a hero artwork like this can actually make the room feel bigger, not to mention adding character and personality.

A study nook doubles as a display shelf, which I’m sure inspires Marcus Hay when he’s working on new concepts! Interiors – Marcus Hay. Photo – Jonny Valiant.

The eclectic New York apartment of Australian super-stylist Marcus Hay has made every inch count. The pinboard above the desk creates a ‘home office’ within the main living area. Interiors – Marcus Hay. Photo – Jonny Valiant.

A vintage cabinet doubles as a mini bar – and there you have it, an instant party! Photo – Alexander James. Interiors –  Studio Ashby. Styling – Olivia Gregory.

Our Art Director’s Tiny Terrazzo Palazzo! Kitchen table made by Thomas Lentini. Woven leather chair by Douglas and Bec. The chairs in-between are second hand. The mustard hanging pendant light is Verner Panton’s Flowerpot lamp, from &tradition. Photo – Caitlin Mills. Styling – Annie Portelli. 

Versatility & Zoning Areas

Just because a space may be small, doesn’t mean that you can’t create distinct zones. A pendant light over a dining table delineates the space, and creates a sense of occasion. A desk with a pinboard over it creates a ‘home office’. A ‘non-area’ like a hallway can be decorated with artwork to create a gorgeous little entry moment – every inch should be considered.

Think about dual-purpose furniture such as a coffee table that doubles as a toy box, a bench seat with baskets under and a dining table with a fold-out leaf to extend when using it as a desk. Even a bare wall can store bags with a few hooks installed.

That blue!!! What a gorgeous cosy space to enjoy breakfast whilst the world goes by outside in the Big Apple. Interiors – Marcus Hay. Photo – Jonny Valiant.

If these walls could talk, they would say that a fabulous couple live here. Yellow is such a joyous colour to paint a bedroom because life is too short for boring spaces. Photo – Alexander James. Interiors –  Studio Ashby. Styling – Olivia Gregory.

(left) The dining room. How incredible is that blush feature wall? Painting by Neil Tomkins. Sculpture by Sanné Mestrom. Tulip dining table by Saarinen. Restored Cesca-style chairs. Pendant by Laal. Herringbone floors by Storey. Photo – Sean Fennessy. Styling – Jessica Lillico. (right) Matt Woods Perfect Storm. The grey walls add to the enveloping effect to this bedroom in this incredible apartment by Matt Woods. Photo – Kat Lu.

This apartment in Southbank is one of (very) many, however, not many of them have a cosy bedroom like this! The soft grey grasscloth wallpaper and sheer curtains give this bedroom a bespoke and luxurious feel – a far cry from the white ‘AirBnB’ room aesthetic. Interiors – Berkeley Interiors. Photo – Tess Kelly.

Colour

White isn’t always the best colour in small spaces, believe it or not! In a compact apartment, particularly where natural light is limited, darker colours actually recede, creating the illusion of depth, and helping to make artwork and furniture pop. Using different wall colours in each room can also make a home feel bigger, because of the variety.

So, instead of bland white, embrace colour where you can, then add in some mood lighting and you’ve got loads of atmosphere.

A floor lamp next to the armchair gives a beautiful ambient light in the evenings. Photo – Alexander James. Interiors –  Studio Ashby. Styling – Olivia Gregory.

Lighting is not an afterthought in this lofty apartment designed by Matt Woods, it integral to the overall design of the space. I can only imagine how this double ring of light would softly illuminate the space in the evening – it’s so gorgeous. Photo – Kat Lu.

(left) Our Art Director’s Tiny Terrazzo Palazzo! In amongst the bits and bobs on the shelf is a swan watercolour by Annie’s Dad when he was in high school. Beside it (right) sits  Alice Oehr’s annual Christmas cards, with wall lights from Beacon Lighting. Photo – Caitlin Mills. Styling – Annie Portelli.

Lighting

New apartments developments often lack character, big time. A major issue is that they’re usually severely lacking in lighting – most only have a grid of downlights – literally the worst way to light a room!

One way to add interest is to use wall lights (even if you’re renting, as some wall light options don’t need to be hardwired). Also experiment with floor lamps and table lamps at the very least, you can thank me later!

Instead of wall to wall storage, some breathing space can greatly enhance the overall feel of the apartment as seen in this interior by The Stella Collective. Interiors – The Stella Collective. Photo – Maegan Brown.

Wall to wall cupboards are all well and good, but it’s what’s inside that counts. The inside of this pantry has been designed by The Stella Collective specifically for purpose to provide maximum efficiency in the apartment. Interiors – The Stella Collective. Photo – Maegan Brown.

Even the kids’ dining area is chic! Cooking pot from Hub General Store. Photo – Caitlin Mills. Styling – Annie Portelli.

Shelf/desk wall designed in collaboration with and made by AKWT painted in a Dulux Chalk Finish paint. Ceramics on top shelves made by Georgie at age 12. Kate Jones ceramic planter. Mark Alsweiler statues. Photo – Caitlin Mills. Styling – Annie Portelli.

Design Clever

You can store everything you need in a small apartment with some clever design solutions and a shift in mindset. Well-designed cupboards can store coats, appliances and even a laundry. Often, to maximize the efficiency of space, they may need to be custom made.

It’s also worth considering that some breathing space can greatly enhance the overall feel of the apartment, so putting cupboards on every single wall isn’t always the best solution either; sometimes just having less stuff is.

[alphaplus052things]

本日フラゲー‼️🔥 😆#Repost @dj_junshi_1986 with @get_repost ・・・ 「伝えたいMESSAGEがここにある」 DJ JUNSHIによるオールジャパニーズミックスの新シリーズ第一弾。 ジャンルの隔たりがなくなりつつある今だからこそ聴くべきジャンルレスなグッドミュージックオンリーのオールジャパニーズミックス。 DUB PLATEや未発表音源などを含む全46曲収録。 発売日 : 2018年12月12日水曜日 タイトル : MESSAGE アーティスト: DJ JUNSHI 収録曲数 : 46曲 収録時間 : 67分 販売価格 : 2,160円(税込) 12月5日水曜日まで予約受付致します。 予約頂いた方には特典CD付きで12月7日金曜日発送予定で郵送致します。 店頭、オンライン等の販売は12月12日水曜日となりますので予めご了承下さい。 予約希望の方はdjjunshi@yahoo.co.jpへオオタ宛にメール又は各SNSにてDMお願いします。 【TRACK LIST】 01. FEEL GOOD (DJ JUNSHI DUB) / U-MIO 02. MACHIAWASE / J-PEE 03. 千年樹 Feat. ZAO/ 呼煙魔 04. Dokokara / ZAO with Anna Ishii 05. Who's / CHILL CAT 06. Everything's Gonna Be Alright / STROK 07. 4thCoastYella / Disry 08. SUN / SEED THE LAZY 09. Ever / BLAZE & CENE 10. 3page / ONEJAY 11. Fixus Absolute / FEIDA-WAN 12. MANZARA / M.S.K. 13. 理由なき反抗 / K-OUT 14. Bridge / BAD MONDAY 15. Brand New Days / CRICK 16. 流動時間 / KHACT BOMB CHOSS 17. 衝動 / 黒衣 18. 色褪せない事をやろう / 仏師 19. Backstreet Boogieman Feat. MEGA-G / BASE 20. Life's a Bitch / GRAPPLUZ 21. Space art Feat. MAY-LU / UNIVERSAL TOSHIKI 22. Life is / 9-BLOW 23. STAND BY / MEGAHORN & U-MIO 24. ONE DAY Feat. 大和 / SIMOIKY 25. GUESS WHO'S BACK / THREEDAM 26. 写kill / TAITO 27. INCENT / WHITE 4TH 28. Unhappy birthday / MIC DADDY 29. W.M.M.A. / Young Yazzy 30. Lean Back / BUDDY 31. SHHUTER CHANCE / 4's ACE 32. ESSENTIAL / 神獅 33. New Generation / SARI & STROK 34. Go / JAGGY & RENY 35. BEST OF MY LOVE / D.I.K with B.MONKEY 36. アソビタイ Feat. T-STONE / J-PEE 37. Jrappin' / Young Yazzy 38. Jackie Chain （DJ JUNSHI DUB) / OGK 39. しゃんしゃんBOUNCE / OGK 40. PARTY GANG / KIVA THE GROWTH 41. Diggy Sick / JONNY & I CEE 42. Good Morning / Marbay 43. Running / 太心 44. Think Of You Feat. Full Of Harmony / KEN THE 390 45. More and More / 和膳 Feat. KIVA THE GROWTH,ROOKEY 46. We are the one / ge-shi Twitter : @DJJUNSHI Instagram : dj_junshi_1986 SoundCloud : https://soundcloud.com/junshi-ota 202 Studio Store : https://202studio.thebase.in #brandnew #mixcd #mixtape #alljapanese #alljapanesemix #オールジャパニーズミックス #release #20181212 #message #djjunshi #message_djjunshi #202studio #okayama #japan #aljp_001 #hiphop #rnb #r_n_b #reggae #music #classic #永久保存版 #永久保存盤 (Plus Alpha 星ヶ丘店) https://www.instagram.com/p/BrPqSqJHOS8/?utm_source=ig_tumblr_share&igshid=j7bfsdcjsxpv

[anthonymmartinez]

We're All Going To Die from Stefan Hunt on Vimeo.

We’re All Going To Die takes on the simple task of exploring the meaning of life. Through colour, imagination, humour and fart jokes, Director Stefan Hunt asks you to look at the what ifs, the why nots and the oh wells that might flash before your eyes when paid a surprise visit by Death. With your internal monologue played by Jared Jekyll and Death played by Hugo Weaving (The Matrix, Lord of the Rings), you’re prompted to get existential whilst grinning from ear to ear during this independent short film of fantastical weirdness.

The film is an adaptation from Stefan Hunt's illustrated book 'Were All Going To Die' and part of a multimedia extravaganza of that same name that was launched in October 2017. The project uses death and art to empower its audience to fear less & live more. "Years ago I was crippled by fear. Reminding myself that I'm going to die has changed my approach to life. It's the most powerful force to live by." says Hunt, who independently funded this project alongside a successful Kickstarter campaign.

A huge thank you to everyone who has been part of the journey. Let's keep kicking fear in the balls.

For more information visit - wereallgoingto.com Official book available here - wereallgoingto.com/book

Director - Stefan Hunt Producer - Yingna Lu Director of Photography - Campbell Brown Editor - Stefan Hunt Man - Jared Jekyll Death - Hugo Weaving Production Designer -Ian Kanik Art Director - Mohini Herse Art Director - Courtney Covey Costume Designer - Christina Bouzios Costume Designer - Rosa Spring Voss Hair and Make Up - Katy Clucas Hair and Make Up - Lisa Mangion Sound Composer - Jonny Higgins Casting Director - Felicity Byrne Unit Production Manager - Maren Smith Unit Production Manager - Nicole Hofstädter 1st Assistant Director - Stuart Beedie Stunt Coordinator - Mark Duncan (TwinStar Stunts) Stunt Rigger - Neal Horton Production Assistant - Olivia Carolan Production Assistant - Yasmin Blake Production Assistant/Reader Emele Ugavule 1st Assistant Camera - Joel Eames 1st Assistant Camera - Sid Tinney 1st Assistant Camera - Tim Keith 2nd Assistant Camera - Luke Tysoe 2nd Assistant Camera - Chris Moore 2nd Assistant Camera - Rhavin Banda BTS Jack Shepherd Wardrobe Assist - Amber Theron Gaffer - Mat Wilson (Focus Film Lighting) Gaffer - Steve Schofield (Lumen Arty) Best Boy - Nathan Grant Best Boy - Richard Hawkins Best Boy - Charles Gray Key Grip - Chris Davies Sound Recordist & Boom Operator - Martin Demian Stills Photographer - Sam Shepherd Locations Services - Emelie Fagerman and Alex Intihar from Search Party Locations Online Editor / Colourist - Matt Fezz VFX Supervisor - Matt Fezz VFX Supervisor - Matt Campbell Storyboard Artist - Amber Theron Graphic Designer - Sam Shepherd Designer - Hui Ying Kao Designer - Courtney Brookes Animator - Andrew Khosravani Animator - Michael Chen Post Sound Supervisor - Jonny Higgins Voice Over Recordist - Rob Hughes Voice Over Recordist - Simon Lister VO recorded at Nylon Studios Special Thanks to; Paper Moose Crater Studios Mrs Nina Tattoli Vanessa Marian Helena Rosebery Southern Cross Cameras Australia Stef Smith Matt Pike Whitney Oliver Alexandra Kent Adam Benton Liam Riley Ant Pawley Kei Yokokawa Williams Management Andrew Wilkinson (Sydney Prop Specialists) Alt.vfx

[jamieartslogojournal-blog]

15. I am not a fan of the rebranding of this logo. The original logo was unique and interesting and had an elegant feel towards it. Perfect for a high end fashion company. I like the way the ‘V’ intersects with the ‘D’. The new logo is a lot more plain. The basic layout and thick sans serif font have a boring feel. The new logo does not feel like one for a fashion brand.

Jonny Lu Studio

(via Brand New: New Logo for Diane von Furstenberg by Jonny Lu Studio)

[larryland]

On Friday, October 20th, The Bennington Center for the Arts is excited to host Michael Benedict’s ensemble, Jazz Vibes. 

Michael has performed and/or recorded with jazz luminaries Gary Smulyan, Harry Allen, Dick Oatts, Steve Nelson, Sharel Cassity, Bruce Barth and Joe Locke.  He has toured the United States extensively, performing at numerous concert halls, colleges, clubs and festivals and has performed in Europe.  He is currently the leader of three ensembles; Jazz Vibes, BOPITUDE and The Gary McFarland Legacy Ensemble and has released five recordings to date.  Downbeat Magazine rated BOPITUDE “Five and One” as one of the Best Albums of 2013 and his most recent release, “Circulation: The Music of Gary McFarland”, was an Editor’s pick in Downbeat Magazine and listed as one of the Best Jazz Albums of 2015 by National Public Radio and critics Ted Gioa and Scott Yanow.  JAZZ VIBES features Michael on vibraphone, David Gleason on piano, Mike Lawrence on bass and Pete Sweeney on drums.  The repertoire of the group includes straight ahead jazz standards, Latin American songs and original material.  Come to the Bennington Center for the Arts to enjoy a high energy performance from the leading vibraphone group in the Capital Region!

On Friday, November 3rd, The Bennington Center for the Arts will present the roots jazz and blues group, Annie & the Hedonists.

Fronted by the captivating vocals of Annie Rosen, and backed by Peter Davis, (guitar, banjo, clarinet, piano, vocal), Jonny Rosen, (guitar, vocal) and Don Young, (bass, guitar, vocal), Annie & the Hedonists interprets the songs of the great female blues artists of the ’20s, 30s & 40s: Bessie Smith, Sippie Wallace, Memphis Minnie, Billie Holiday, Rosetta Tharpe, Blue Lu Barker, Ella Fitzgerald and others.   Albany radio station WEXT named their album “Tonal Indulgence” among the best of 2015, and North Country Radio lauded the ensemble, which has played venues both large and small across the northeast, as having “great singing [and] great musicianship; authentic and real. Most of all, a heck of a lot of fun!“.  At the Bennington Center for the Arts, Spirits of Old Bennington will be serving refreshments throughout the evening.

For both performances the house will open at 7:30pm and the performance will begin at 8pm.

Tickets: $15 advance/members, $20 at the door.  Kids 12 and under are admitted free of charge!

Call The Bennington Center for the Arts at 802-442-7158 to purchase tickets or visit our website to order online.

_______________________________________________________________________________

The Bennington Center for the Arts strives to provide fine arts, graphic arts, performing arts, and cultural arts to the residents, visitors, and students of Bennington and the surrounding area. It is a comprehensive arts center, featuring 7 galleries, art studios, a 315-seat theater, the Covered Bridge Museum, and an extensive collection of Native American and wildlife art. The Bennington Center for the Arts supports the artist community, specifically emphasizing representational art with themes rooted in the natural landscape. Its temporary exhibitions, studios, and events serve thousands of visitors each year in this world-class facility.

The Bennington Center for the Arts is located at 44 Gypsy Lane in Bennington, VT and is open from 10am until 5pm every day except Tuesday.

Fall Concerts at the Bennington Center for the Arts On Friday, October 20th, The Bennington Center for the Arts is excited to host Michael Benedict’s ensemble, Jazz Vibes. 

[apparelweb-collection]

【メゾンニュース】ダイアン フォン ファステンバーグがジョナサン・サンダースによる初のキャンペーンを発表

ダイアン フォン ファステンバーグ(Diane Von Furstenberg)のチーフ・クリエイティブ・オフィサー、ジョナサン・サンダースによる初の2017 フォール コレクションのキャンペーンが発表された。

このキャンペーンは、同ブランドが設立された場所でもあるニューヨークが舞台。生きたエネルギーにあふれ、楽観的かつ独特な活気あふれる大都市にフォーカスしている。Oliver Hadlee Pearchによるヴィジュアル/動画撮影、Jonny Lu Studioがアートディレクターとして入り、ニューヨークのユニークなスタイルと魅力だけでなく、美しいコントラストと矛盾をモダンに捉えたものとなった。

またキャンペーン動画では、4人の女性、Luna Bijl(オランダ出身)、Yoon Youung Bae(韓国出身)、Angok Mayen(スーダン出身)、Cara Taylor(アメリカ出身)をフィーチャーし、彼女たちそれぞれのオリジナリティ、自己表現、自由、 ユーモアを探し求める旅を追った動画となっている。さらに、現代社会や現代愛について読む詩人、Rachel Kangのボイスオーバーされた詩が動画内で読まれている。ニューヨークの街を探索しながら恋をする比喩で唄われており、このキャンペーンのために創られた特別なものだ。

ハーレムの歴史やトンプキンススクエアパーク、リバティーアイランドなど、さまざまなマンハッタンの場所が強調して描写されており、このコレクションのモダンさと創造性を鮮やかに表す背景となっている。街でみるリアルな住人のブレイクダンサー、チェスプレーヤー、ロープジャンパーなどを映すことで、ニューヨークの独特なダイバーシティー、わくわくするようなエネルギーを意図的に描いた。

キャンペーンには、ハンドライティングが特徴的なElsdenプリント、大胆なレオパードを用いたBelmontプリントやドラマティックにフラワーを描いた Bentonプリントなど、カラフルな今季のキープリントが多く登場。また、クロ スボディバッグ(Soirée Crossbody Bag)と名付けられたシルバースパンコールや華やかなベルベットなどのファブリックや、イブニングクラッチとしての用途も楽しむことができる新しい機能を兼ね備えたバックにも注目だ。

新”DVF”モノグラムも今キャンペーンより登場し、大胆で独特なブランディングを強調するキャンペーンとなっている。

公式サイトはこちら

★キャンペーンムービーはこちら

[loverepresentstuff]

01.08.17

Meet Myles Palmer

Since graduating from London College of Communication in 2014 Myles Palmer has toured the studios of London as both a freelance and full-time digital designer. We’ve had the good fortune to place him in a handful of roles where he’s worked on projects ranging in scale from personal projects for photographers and designers, to the online presence of Beyoncé’s signature sportswear brand, Ivy Park—and he’s still managed to keep personal projects going on the side.

One such project of note was his first foray into education; a design summer school run with three friends that sought to fill holes in the education system and foster collaboration between young designers. Now a senior art director at Future Corp London, we caught up with Myles to find out more about how his career’s come together, the pros and cons of working freelance, and what it’s like to work for the queen of pop herself.

Since you left education you've been in and out of freelance and full-time positions. What's been the positive and negative of moving around, and was it an intentional move to get experience in so many different places?

In terms of it being an intentional move, not really, no! It's evolved quite naturally really: one studio closed, another it felt like the right time to move on, and freelancing full-time didn't really feel like it was for me. On the positive side it's given me the opportunity to learn from lots of people, different studio cultures, different ways of working, and it's rounded out who I am. I know how I like to work, what I do and don't like doing, and also what I'm good at and not.

The flip side is that perhaps I haven't felt settled enough, or been anywhere long enough, to really get into a groove creatively project after project with the same people, which I think can be really beneficial.

You've also been involved in educating yourself. Tell us a bit about Registration Summer School and the rationale behind it. What happened after year one, and does it have a future?

Registration Summer School was set up by Callum Copley, Ross Bennett, Andrew Thorpe & myself. It was instigated by Callum and I was brought on from a digital & visual point of view and it evolved from there really. We all got stuck in together arranging workshops, lectures, student applications and things like that and for me it was about creating an alternative look at education and experimenting with that.

I think it presented an opportunity to have lots of practitioners and students from across the world working together over several days, pushing themselves outside of their comfort zone, exploring ideas that perhaps they weren’t used to thinking about, and working with lots of different mediums that were different for people too.

Most importantly for me; it was entirely free outside of a very small materials fee, making it open and accessible to a lot more people than typical summer schools at the time. I think generally there’s a lot more summer schools out there now than when we did Registration, and they are at more accessible prices and explore more interesting things than they used to.

We're all off doing different things now, and unfortunately I don't think we'll be running another, but never say never!

You set up Registration School while you were still studying. Was it a direct response to things you felt were lacking from your own experiences as a student?

A little, I think. For me the direct response was becoming an associate lecturer at Chelsea College of Art. I had a tricky relationship with my university education for several reasons, and because of that I kind of thought “Right, I can do this better myself.”

I understand that education has certain needs to be met, criteria to fill, and it's really hard to cater for a diverse range of students, but I fear that we don't prepare students enough for the reality of graduating. For me it's not about a technical level, but a mental one.

It's really hard for people to not get jobs, get rejected from roles, or do internships for a year or more before anything permanent comes around. It really knocks people for six; they've just come out of a system that has built them up for three years and haven't quite had to deal with these feelings or situations yet, and for whatever reason—be it experience, technical skills or ability—they can't reach the heights or get the opportunities they thought they would.

Being able to tell students how it really is while allowing them to grow and encourage them is actually really hard. A select few tutors had a large influence on me; they were challenging, probing, intriguing and had an edge to them, while having a real sense of empathy and being grounded in the reality of the industry. So I appreciate that a lot more now

How much do you think it's possible for a university education to prepare digital designers for the reality of being a practitioner given how quickly the landscape shifts?

It's tricky. I think that universities should be there to teach you skills that are independent of the medium, and are more ways of thinking and seeing, while grounding you in enough technical ability. There are design fundamentals that you must understand and tools that you should learn to enable you to do your job, but I think designers are diversifying their skills a lot more now.

For example copywriting and strategy is a key part of what I do now; being able to weave narratives and express stories is really key, and that's something I never touched on at university at all.

For me it’s about reading lots. I think if students start to read about historical design methods, and keep up with the current developments in design, they can start to form a rounded view of how to approach things and then apply that. It’s about transferable skills really. People that study design don't just go on to be 'designers' anymore, there's a far wider range of career paths, and I think it's important to note that and celebrate it.

You've worked on some pretty huge projects recently. Aside from the high-profile ones, what have been the most rewarding and engaging?

I think generally the most rewarding and engaging projects are ones where I really learn something, or feel like I'm pushing myself and challenging what I'm doing, regardless of what the project actually is. I think that if I'm working on something and I'm going through the motions, no matter the scale of project, it's not enough for me. I always want to be learning and growing.

Ivy Park must have been a mad project to be part of. How slick is the operation of anything Beyoncé-related? Did you feel at all intimidated to be working in that world?

It was pretty mad, yeah! It was like nothing I had experienced before, really. It wasn't really intimidating, perhaps because it was just too exciting!

The studio (Jonny Lu Studio) was working on the whole of the Ivy Park brand and the website grew naturally from what the team were doing with that.  We came up with some ideas and put a working prototype together that expressed our vision and it was presented quite early on to Beyoncé and it went down well.

Thankfully it was well received publicly, and it's great to see it still going now.

Alongside studio work you also keep a solo practice going, how important is that to you?

It's been important for me over the years to be able to work on things independently to learn and grow. In my own time I can work on things and experiment in a way I can’t always in the pressure of a commercial setting, so I like to use it as a testing ground for ideas and experiments.

I'll mostly work on websites for friends or independent photographers, set designers, and graphic designers. I want to enjoy what I do, create things that I like, but most of all I want to work with people that enjoy working on things together, so it gives me the opportunity to do that.

As someone who spends so much time on screen, do you ever feel like the worlds we create online are unhealthy at all?

Absolutely. I often think about why I’m doing what I'm doing, what's the purpose of it, and our relationship with the internet. I personally feel quite chained to these online worlds we live in.

I feel like we're all constantly in this cycle of downloading loads of information into our brains, and then racing to spew it back out online in some form. There's an obsession with 'the new’—to create something new, to experience something new, to say something new on the internet—and it feels like all we are interested in doing is being 'new' or being 'first' to create, say or do something.

I personally don't feel like there's the space to take something slowly, to explore and to grow organically. It feels like we're always in a hurry and it's pretty exhausting.