graphic design

It’s that time of the end of year where I return with my totally unbiased (honestly) review of the best of what was covering Australian music releases this year. My choices are purely based on the criteria of ‘I wish I had done that’, so judge it as you will. If the count seems down this year, well, blame it on a plethora of musicians forgetting the number of their local graphic designer – there was some really horrible cover artwork representing what was a pretty decent year as far as music released goes, maybe the kids just don’t care anymore and they’re being ironic. I don’t want to point the finger in any general direction, the state of the art is probably not looking all that healthy when what was probably the ‘break-out’ album of the year, Lorde’s ‘Pure Heroine’ was graced with a cover that looked like it mistakenly got through as a ‘For Placement Only’ cover note. Anyway, this year is redeemed once again by some spectacular covers. If I had to suggest any particular trends for the year, I would say black and white photography (and black and white artwork in general) Covers with no typography (perhaps a trend towards accommodating the small size of image associated with digital downloads), and lots and lots of painterly. paint stroke artwork

0001269032_10-1Jen Cloher: In Blood Memory
Artwork: Celeste Potter

9332727027055Olan Mill: Hiraeth
esign: Mark Gowing

a0075366445_10Swimming: Yes, Tonight
rtwork: Madison Bycroft

a3225547543_10Waywardbreed: Gathering For The Feast
Artwork: Unknown

a3562461834_10Day Ravies: Tussle
rtwork: Nicky Minus

brinkThe Jezabels: The Brink
esign: Christopher Doyle
Artwork: Jarek Paczel

CH108-BushwalkingBushwalking: No Enter
rtwork: Jesse Lucas
Layout: John Vineiguerra

Poor+VirginiaBrooke Russell and the Mean Reds: Poor Virginia
rtwork: Claire Foxton

push-the-sky-awayNick Cave & The Bad Seeds: Push The Sky Away
Design: Tom Hingston
Photography: Dominique Issermann

PVT+-+HOMOSAPIEN+-+Cover+copyPVT: Homosapien
Design: Jack Ladder
Artwork: c/o Winston Chimielinksi

yourashadow-coverHungry Kids of Hungary: You’re a Shadow
Artwork: We Buy Your Kids

a3433174855_10The Darling Downs: In The Days When The World Was Wide
Artwork: Hoof
Photography: James Pipino

7100-CD-stories-of-ghosts-itunes-medDeborah Conway & Willy Zygier: Stories of Ghosts
Design: Sweet Creative

Melody-PoolMelody Pool: The Hurting Scene
Artwork: Andrew Allingham

Kirin_CoverKirin J Callinan: Embracism
Art Direction: Jack Ladder
Photography: McLean Stephenson


artworks-000059632315-air0l4-originalMick Turner: Don’t Tell The Driver
Artwork: Mick Turner


TraicosCatherine Traicos and the Starry Night: Night, The Earth, The Sea, The Moon, The Sky
Artwork: Unknown


Melodie+FrancaiseMelodie Francaise
Artwork: Unknown

This interview was originally featured on the Desktop Magazine website

Grace Lee, a freelance illustrator originally from Sydney now living in Japan.

What brought you overseas and how has that move shaped your career/life?
I had been wanting to go to Japan ever since I was a teenager and became friends with a homestay student who was staying with my sister at the time. It wasn’t until after my first trip to Japan in 2007 that I decided to move. I also had some time constraints, as 31 was the cut-off age for working holiday visas. Initially, I didn’t really have a plan, I was working as a designer for Inside Out magazine prior to moving, so I half set out to try to do design if I had the chance. It turned out to be more difficult than I had expected. Mainly due to language barriers and also having to hold down a regular job to make enough money to keep living here. In hindsight, everything worked out. Japan has had a huge impact on the shape of my illustration career. If I hadn’t had those early knock-backs in design, I probably would never have thought to try illustration.

Illustrations for Stella magazine

Was there anything good or bad that surprised you when you moved overseas?
That I’ve been here for three years! For day-to-day things, the taxes in Japan surprised me, as did the initial cost of renting my own place. In terms of illustration, I was surprised by how much it is used here in Japan. It’s everywhere – from the most mundane items like utility bills and kitchen cleaning goods, or the use of illustration/animation for corporate branding. I was also surprised by how honest this country is. I’ve lost my phone and wallet a few times, and not once has it not been handed in. I’m not the only one with the story. (bike lights might be the exception however).

What are some of the main challenges you’ve faced as an ex-pat creative?
The first was trying to get work. I came here with only a very basic high school level of Japanese. I have enough Japanese to get around day-to-day, but in terms of finding work and being able to apply (and read about jobs on offer), it was quite difficult. In the first year of living in Japan, I did some work at a design studio here in Tokyo, it was a great way to be involved in a creative environment, but because I didn’t have the language skills to be properly briefed in, I ended up doing a lot of deep-etching work. There are opportunities out there, and I have heard of and do know people who have managed to get work without a native level of Japanese, so it is possible. The other challenge has been finding a balance between working a day job and trying to do creative work as well. I teach three days a week, and whilst it’s a lot less than when I first arrived, I still find it a little challenging to juggle both (especially during deadlines!).

Illustrations for Slow magazine

Tell me a little about your work situation at the moment, where you are working from, what sort of work, what a typical day might be for you.
I work from home. I basically sit at a little table with a printer, my laptop and a heap of textas. The bulk of the work I’ve done has been for magazines, but last month, I had a few really great opportunities to work on book illustrations, packing and… a small window display. Since the illustration work hasn’t been full time, I don’t really have a typical sort of day. It depends on how busy the month is. Most of the days that I work from home, I’m either drawing or scanning, or deep-etching or laying something out. I do most of my work at night.

The creatives I’ve met over here are incredible. The standard and the talent makes me want to try harder. I had a table at the Tokyo Art Book fair this year and was blown away by how clever, cool, and cute the works were. The artists, illustrators and creatives I’ve met are so committed to their work, really focused and hardworking. Incredibly humble and I’ve never heard anyone complain.

What’s the perception of Australian creatives and Australians in general in Japan?
I’m always greeted with a really positive response when I say I’m from Australia. The perception varies though. I’ve had questions about whether Santa rides a surfboard and others based around stereotypes, but these have been few. Most people want to know more about Australia and are really interested. There’s a lot of American influence here, I’m yet to find a cafe that serves flat whites! As for Australian creatives, my Japan agent was the one who told me about Lost at E Minor and how it was started by Australians. I’m not really sure if people automatically associate Australia with creative but there’s definitely a lot of interest and respect, from my experience.

Nidi Natsumatsuri Exhibition

Any advice for creatives thinking of making a similar move?
Go for it. Seriously. I wouldn’t change anything about the last three years I’ve had here. I wasn’t ready to have this career two years ago, as much as I wanted illustration work (and thought I was ready). Even if I had the language skills, there would’ve been no guarantee that I would’ve found work. I came here not knowing how long I’d be here for. I half feared I wouldn’t last six months, but, I’ve now been in Japan for three years. I think back on then and now, and so much has happened through timing, meeting people, putting yourself out there.. oh and having some form of online presence. I am hopeless at updating my blog (let alone actually writing anything in an entry) but having some kind of easy access link for people to look at really helps.

What’s the most important thing you’ve discovered about yourself living abroad?
Whatever you think you can’t do, you can do.

This interview was originally featured on the Desktop Magazine website

James Kape is a New York based designer from Sydney, Australia. He focuses primarily on branding, print and web design and has been featured in a number of blogs and publications. James is inspired by refined design, typography and photography.

What brought you overseas and how has that move shaped your career/life?
I decided to move overseas because I needed to complete an internship to finalise my University Degree, having already worked professionally within the industry for a year, completing a internship felt like a step backwards unless it was for a dream studio overseas. So I created a book of my work (see here) and sent it to five dream studios. When I arrived in New York I had interviews at each of the five. These included: Sagmeister inc, Marque, RoandCo, NR2154 and Pentagram.

In the end and spoilt for choice, my gut feeling led me to work for NR2154. After interning for a month, I was offered a job. It was a great experience, but after eight months of working an exciting opportunity arose which I couldn’t turn down…

Detail – James Kape Personal Portfolio

Inside pages – James Kape Personal Portfolio

Was there anything good or bad that surprised you when you moved overseas?
So yes, this exciting opportunity… at the beginning of September 2011, I received an email from a recruiter at Apple. She had found my work through ffffound and I think Designspiration, which is kudos to how beneficial having your work featured on a blog can be. I had a phone interview with the creative directors there a week later, which went very well and so following this I was asked if I could come to San Francisco for a face-to-face interview.

The whole experience was quite surreal, I was asked how long I wanted to stay ( if I was to move from New York to San Francisco they wanted me to be comfortable with my surroundings) and so I said five days and with that, they then paid for my flights, accommodation and advised me of a daily budget covering food and travel which I could expense each day. It was like I had won the lottery for all expense-paid holiday, though unfortunately not all was well, once I arrived.

My interview was 6 October 2011. The day after Steve Jobs died.

I’ll never forget this day.

On the actual morning, a chauffeur picked me up outside my hotel and drove me to Apple HQ, Cupertino. Outside the front there were news teams from every TV station I had ever heard of. I asked my chauffer what was up… at this point I wasn’t aware of his death and neither was he. He shrugged and said “Apple probably released a new ipad or something.” He dropped me off outside a back door, the entrance to the graphic department, and in I went. The recruiter greeted me with, “Obviously, you have heard the news so unfortunately things are going to be a bit shaky today, but we will do our best to make it work.” I nodded and met the first of seven creatives that I was due to have interviews with that day. I found out about Job’s death in interview two.

A collaboration with Briton Smith. Devotion photography and conceptualisation for a Sydney-based musician Issac Tichauer

What are some of the main challenges you’ve faced as an ex-pat creative?
I think, one of the main challenges is adapting to a very different lifestyle heavily influenced by the working standards in New York.  For example working hours here are 9:30 / 10:00am to 7:00 / 7:30pm. I can work late, very late in fact… I remember working until midnight sometimes in Sydney, but when you’re expected to work until 7:00pm every night of the week it can be quite taxing to begin with. Initially, I also found it very hard adapting to American imperial units and measurements. Here you don’t use A4 and A3, you use letter and tabloid. Forget about gsm and centimeters, you measure stock in grams and paper sizes in inches, which being dyslexic I still struggle with. How do you divide 1/8 of inch? I find it funny that even the Americans I work with struggle with their system of measurement.

Tell me a little about your work situation at the moment, where you are working from, what sort of work, what a typical day might be for you, any interesting, exciting crazy people you’ve met.
Well, unfortunately I didn’t get the job at Apple. Though looking back I’m glad it fell through, because I’m very proud to say I now work for Wolff Olins, New York. Their ethic, cliental and culture is the best experience I have ever had, their work redfines what a brand should be and in my opinion they set the bar really high for others to follow. Most recently they redesigned USA Today and redefined what a paper should be. I got to illustrate and create a lot of the brand behaviours (for the logo) used in the campaign – which was awesome.

They other day I went to Grand Central Station and saw my work on posters, everywhere. Amazing! I don’t think I would get the opportunity to do such high-profile work anywhere else.

A typical day starts with breakfast in the work kitchen and a cup of coffee, I might read up on design news and then start my day. Like most studios I work project to project so there isn’t really a specific routine that I follow. Everyone who works here is extremely talented for different reasons, for example my main creative director at the moment is Mike Abbink. A quick look at his portfolio and you will see he has designed logo marks / typefaces for some of the most famous brands of this decade.

USA Today logo behaviours by Wolff Olins

What’s the perception of Australian creatives and Australians in general in New York?
Aussies are everywhere. The J1 visa means (compared to other countries) it’s very easy for us to work in the US. I’m not sure if there is a specific opinion toward us generally as I feel New York is an international city but also a very transient city, so everyone who works/ lives here comes from a different corner of the globe.

Any advice for creatives thinking of making a similar move?
Not specifically, though my one regret is that I didn’t spend some getting to know New York City and New Yorkers prior to working in different studios. I arrived and began straight away and as such still haven’t found the time to do and see a lot of what New York has to offer. I would have really liked to work in a bar for a bit too, I’ve never been a tourist in this city!

What’s the most important thing you’ve discovered about yourself living abroad?
I guess, more and more what I like and what I don’t like. How to have an opinion about certain things, I couldn’t really say it was one specific thing… when I studied in Sweden it was clarification. Clarification that I wanted to be a graphic designer and that was the right path for me. Since being in New York I’m not sure what that single important thing is.

Someplace Webshop – Illustrations by Kape for Sydney-based Scandinavian Clothing Store

I’ve been having some problems with my home internet connection, so haven’t posted for a while – all fixed now, so here are some links to some great articles to cheer up a pretty grey and dismal day in my hometown!.

I’ve set up a pinterest gallery covering South Australian graphic design which I am slowly filling. If you’ve got work that you would like me to include, please drop me a line! In the meantime, have a look at some of the fantastic work I have gathered so far.

One of the best observations on graphic design that I have read in a long time. Ten Things I Have Learned is part of a talk by Milton Glaser for the AIGA in London

Michael Johnson asks ‘Are Flexible Identity Systems All Played Out?’ in this interesting article on the Creative Review blog.

It’s always great to see a new local printed (free!) publication around town. CItymag is a new endeavour by the folks who brought you Collect Magazine and covers stories on living within the Adelaide square mile. As you would expect it’s nicely designed to boot!

Speaking of local printed publications, the new Adelaide Magazine is out this Thursday July 25th, and is our special SALA event issue (the whole issue is an official SALA venue). Lots of arts related content (obviously) in this edition. Look for it in The Advertiser!

Two of my favourite Australian designers Heath Killen and Mark Gowing are joining forces to kick design in the teeth with their awesomeness! Heath has just come off of an incredible year-long stint editing Desktop Magazine and I wish them the best, and look forward to seeing the results of their new endeavour!

Local design firm Voice have once again received a gong from the New York Type Directors Club annual awards for their design of the ETSA Utilities Annual Report, well done guys.

On a similar note, wine labels for Schild Estate by Black Squid have won a prestigious double gold at the San Francisco Label Design Awards.

If you’re not reading Art Chantry’s regular articles on his Facebook page, you are really missing out on some very interesting writing covering the often forgotten and dusty corners of graphic design.

Analogoue/Digital Creative Conference is heading into Adelaide on October 18th. Some great speakers including Adelaide’s own Matthew Remphrey, Alter’s Jonathan Wallace (who was interviewed a few years ago on this site) and the crew from Motherbird. Really looking forward to it.

Anything else happening, feel free to let me know!

As we are well established into the new year, it’s time for another of my annual rundowns of my favourite Australian album covers of the previous 12 months. 2012 didn’t feel as vibrant cover design wise as perhaps 2011 did, there were fortunately a select few gems covering some very interesting music and as to be expected, a lot of it was for  independent and under-the -radar releases rather than the more chart friendly fodder. I’ve tried where possible to credit the creators of the artwork, feel free to leave a comment if you can fill in any of the gaps.


Lake Air: Dappled Cities

That’s a very unusual photo – this cover is saved by a beautiful colour combination between the light blue and magenta red and some nice typography.


Provenance – Collected Works: The Lovetones

Artwork: WBYK

Love, love the very 70’s-ish illustration employed, complimented by some very beautifully complimenting typography – unfortunately, the rest of the package doesn’t quite live up to the promise  presented by that wonderful cover.



Having a Beard is the New Not Having a Beard: The Beards

Artwork: Chris Edser

I featured this cover earlier this year on my blog, extensively and lovingly rendered, the cover folds out to this fantastic poster. There is also a film clip that comes to life straight off of this poster.


Sights and Sounds: Made In Japan

Artwork: Patrick Meehan

Nice handrawn type which I am a sucker for – not much more to add.


Coveleski: Coveleski

Artwork: Simon Christou

Stick a fox on it, works everytime!


The Late Blue: Gypsy & The Cat

Artwork: Mark Alsweiler

This almost ‘Dylan-esque’ rendering (refer to his painting on the cover of his album ‘Self Portrait’ to see what I mean) seems perfectly appropriate for the music of Gypsy & The Cat. Quite spectacular on a 12 inch format I would imagine.




Pacifica: The Presets

Art Direction, Design: Jonathan Zawada

While I’m not a big fan of the 3D rendering employed to portray the artists on the cover, I can certainly appreciate the thought and direction that has been put behind this cohesive package for the Presets.
The two covers below are for singles from the album which I actually prefer.


A is for Alpine: A is for Alpine

Artwork: Tim Royall

I’m not sure what it all means, but it was certainly a cover that stood out on the racks, and a beautifully designed package as a whole.



Broken Brights: Angus Stone

There seems to be at least two separate cover designs for this album, this being my favourite of the two. The deluxe package that came in the (above) bag was spectacular and very thoughtfully put together. No idea who designed the package as a whole, maybe he did it himself?


The Touch Of You: Barry Morgan

Lovely Kitsch-ey cover, perfectly appropriate for Mr Morgan, who a little of goes a long way!


Black Rabbits: Grinspoon

Artwork: WBYK

Another beautiful cover by the wonderful WBYK – not looking quite as WBYK-ish as that piece for The Lovetones, but carried very effectively over the whole package and marketing material I have seen.


Anastasis: Dead Can Dance

Sleeve Design: Berendan Perry
Photography: Zsolt Sigmond

Lovely and approriate cover photo by the awesomely named photographer Zsolt Sigmond


Slay Me In My Sleep: Grand Salvo

Design: Mark Gowing


Night Sky: Sophie Hutchings

Design: Mark Gowing

Where would I be in these end of year reviews without the wonderful work that Mark Gowing produces for Preservation? If only more music labels took such a considered approach to the design of their releases. Two more beautiful examples this year, Night Sky being one of my favourite releases of the year. I do miss those big poster cover foldouts they did though!


The Moment: Mia Dyson

Great photo – overall, nicely handled.

The Maple Trail_Cable Mount Warning

Cable Mount Warning: The Maple Trail

This one was a real surprise to me, perhaps the most underrated release of the year, you’ve got to listen to this if you have the means an absolutely beautiful collection of understated tunes. That said, what a gorgeous and unusual cover! Absolutely like nothing else I’ve seen this year, no idea who was responsible, but well done to everyone involved.


Thinking In Textures: Chet Faker

Art Direction & Design: Christopher Doyle
Photography: Jefton Sungkar

Once again, designer Christopher Doyle doesn’t disappoint, he’s getting rather good at these things.


The Drifter’s Dawn: The Tiger & Me

Artwork: Tim Allan @ Made Visual

When I first saw this online I excitedly thought that maybe that little booklet thing on the front, was actually attached to the cover – unfortunately that’s not the case, still an effective piece of artwork though.


Toward The Low Sun: The Dirty Three

Artwork: Mick Turner

Mick Turner, may you never put down your paintbrush. Another beautiful selection of tunes from The Dirty Three once again complimented by the artists deft touch for their cover graphics.


Bless This Mess: Lisa Mitchell

Graphic Design & Cover Artwork: Grace West
Drawings + Scribblings: Lisa Mitchell

Oh Lisa! You never let me down with you cover designs! Another very beautiful cohesive package design from the lovely songstress together with another batch of wonderful music.


So there you have it, feel free to suggest any covers that you may have seen that you think deserve to be on the list. Also, any updates on missing design credits would also be greatly appreciated!

I’ve made no secret of the fact that Paul Sahre is one of my very favourite graphic designers, so when I saw that he was looking for sponsors for a new project through Kickstarter, it was a no-brainer that I was going to contribute.

Saturn V Relaunch” is a photography project and book that will see Paul rebuilding and launching a Saturn V model rocket, some 40 years after his father tried to do the same thing. Paul’s design and 70s era rocketry = awesome in my books.

Paul describes the project as “a shot at dad redemption… in order to introduce two boys (his sons) to the grandfather they will never know”.

Going back to the end of the Apollo space missions on the early 1970s Paul remembers his father – an aerospace engineer – building a Saturn V model rocket. After months of cutting, gluing, sanding and painting, Paul’s father launched the rocket in an open field, only to have the chutes fail, and the model rocket plummet back to earth. Paul remembers this as the first time he ever saw his dad fail – at anything. So when he recently discovered the launch pad in his now late father’s attic he decided to take the experience full circle by trying to launch the rocket again.

In Paul’s words,  “Saturn V Relaunch is a tribute to the days before NASA cutbacks when every kid wanted to be an astronaut in order to explore the unknown, if only in our own backyards And to all of the model rockets that caught fire on the launch pad, exploded mid-air, were lost in a tree or disappeared from sight, never to be seen again.”Saturn V Relaunch sees Paul building another Saturn V model from the same vintage Centuri model kit his father used (he found one on eBay). Upon completion, the rocket will be launched publicly from Sahre’s father’s 40-year-old launchpad. The entire process and the launch, which is planned for the second quarter of 2013, will be documented and self-published as an art/photo book, which Sahre will write and design himself. There is also a plan to produce a short documentary on the Saturn V Relaunch.

The cool part is, every Kickstarter backer gets their name affixed to the exterior of the rocket, which Paul is “envisioning as” a Nascar type situation, with the rocket covered with names”.

For Paul  the project is about more than a model rocket. It is “about a time machine posing as a model rocket”! But it is also about exploring “some basic ideas that we can all relate to: memory, family (specifically fathers), loss, trying again, and what (and how) we pass on to our children”.

So for five bucks you can be a part of this project, and if you’re feeling even more generous, there are various rewards offered at various money donation levels. I’ve found donating to Kickstarter projects to be a very rewarding endeavour in the past and I’m looking forward to seeing the results of this one later in 2013.

Lots of things happening in the Adelaide graphic design scene since I last put keyboard to screen, including lots of updates to local design firms websites.

Some nice new wine label and identity projects by Damian at Sage, including this striking piece of work for The Farm Shed.

Typespace have a whole new look to their site and some great new work on display, including this colourful identity for Floral Image that I’ve seen around town.

One of my favourite studios Working Images have also updated the look of their site, some stunning identity and environmental pieces to peruse while you’re there.

Old stomping ground, Burton Nesbitt Graphic Design, is now simply, with an updated look and website along with some updated work on display.

Ecocreative who I discussed in my previous post have also since updated their website.

sector7g have updated UK band Ride’s official website, doing a very nice job of capturing the bands jingly jangly shoe-gazer feel as well as making me insanely jealous in designing for one of my favourite bands of the 90s.

Late to party as usual, I’d be remiss if I didn’t mention the wonderful clip Chris Edser has produced for local band ‘The Beards’ single ‘Got Me a Beard‘ which recreates the album cover in glorious animation.

Ask me to list the ten all time creative individuals I admire the most and Paul Sahre’s name would be pretty high up on that list. Now you can see a heap of his illustration work stretching back to the late 90s on his just launched site illoops (Illustration Office of Paul Sahre). There’s lots to inspire you here, the site itself is pretty straight forward as far as layout, but when the work is this good it speaks for itself. I saw the bare bones of this site when I was in New York earlier this year, glad to see it has come out so brilliantly!

So the the poster for the 2011 Adelaide Fringe was launched today designed by (Bulgarian?) designer Kamen Goranov. So we’re outsourcing our design work to Bulgaria now 🙂 ? In all seriousness, nothing against Mr Goranov and his design which is actually pretty nice as a responce to creating some ‘iconic ambassadors’ for the event  (though I’m a little over the whole spray paint, stencil effects thing that), but there are so few opportunities for local designers to produce work for such a high profile Adelaide event, we really have to open it up to all and sundry?  We can’t have this one small crumb? Actually, I’ve been thinking lately about the whole ‘open contest’ aspect of the Fringe poster and what it has really become. Back when the Fringe was really what it still calls itself ‘a fringe event’ for more ‘cutting edge, low budget or experimental’ acts,  maybe not considered appropriate for the more ‘prestigious’ Adelaide festival of Arts. In that context, a public submitted poster design contest is perhaps an appropriate grass roots type of promotional piece. The fact of the matter is though, is that the Fringe is now grown into a whole other beast, a serious, money making, mainstream commercial enterprise, even surpassing the Adelaide Arts Festival it was once on the ‘fringe’ of. This is increasingly being reflected over the years in the promotional poster. Where once the poster was a visual introduction to the eclectic and outsider aspect of the Fringe, as it has become more corporate and more mainstream, so it seems, has control over the poster and the overall ‘branding’ of the event. The poster was once designed as ‘a whole’,  image and typography having to be incorporated together, a poster to advertise The Fringe – the shift in recent years has been to the public submitting an image or illustration that has then been ‘branded’ by the Fringe’s designers of choice with the event s set corporate typography (or as one talented ‘wag’ posted on Facebook, ‘It’s good to see that the Fringe is staying true to its mission to bring bad typography to the world’, I wouldn’t be mean enough to say that, no matter what I might think 😉 It’s not just a poster anymore, but t-shirts, mugs, hats, keyrings (whatever they can think to put it on actually). So maybe it’s time The Fringe got with the times and really sold the ‘poster’ contest like it now is, it’s no longer a poster competition, rather it’s a ‘provide an illustration’ competition, or, lets be honest about it, a cheap branding contest. So why don’t they just really bite the bullet, get serious and actually hire some of the brilliant  local brand specialists to design a cohesive promotional program for their now very commercial exercise? Maybe because by calling it a ‘poster’ rather than an expansive brand identity, they can justify the paltry ‘prize’ reward of the $1000 travel voucher the winner receives, I’m not so cynical as to propose this is 100% the case, but good luck to Mr Goranov if he plans to try and use his prize to get to Adelaide to check out the fruits of his labour.