I'm a big fan of robot voice (I think it started with the Beastie's 'Intergalatic') and am always on the lookout for more of it, so it was a treat to find a link to this from my old friend Linus over at Jesus Toast.

With the London Design Festival kicking off this weekend, my plan was to pop along to the Kemistry gallery to look at the Typographica exhibition they have on for the festival. I won't go in to detail about the show (though there were some great spreads from the magazine being displayed), kind of just wanted to sing the praises of Shoreditch really and how many cool galleries and shops there were along the route I took from Kemistry to Brick Lane.

So, there was Kemistry with the Typographica exhibition, then we popped in to SCP, who were working in conjunction with Kiosk, a New York store who collect "rare but humble items" that make peoples life a little bit easier. My favourite piece was the pie cutter. From there we stumbled across YCN where (Full Beard favourite) Alexander Hulme's modified pencil caught my eye. On the way to Brick Lane we discovered Concrete Hermit and East Gallery, both displaying cool prints and collages.

I think my point is that without even seeking these places out, we happened across four or five interesting galleries/shops that were all taking part in the Design Festival (plus more that weren't) which really highlighted how richly the area is blessed with a creative passion and industry. You can really soak up that feeling just spending the afternoon there.

As if I hadn't had first-rate day already, it was concluded with a mighty fine salt beef bagel from the best emporium in London and a couple of pints of Leffe in the Ten Bells. Nice.

Links: Kemistry Gallery, SCP, Kiosk, YCN, Concret Hermit, East Gallery

You've gotta love Spotify don't you. There is so much music out there, literally millions of songs to listen to and a lot of it, I reckon, might well be worth a listen. Problem is I don't have enough money to buy everything that might be good.

And that's where the Spot steps in. You can now try before you buy. Of course there will be people that see it as an opportunity to never have to purchase another CD again, but for every one person with that attitude, I think there is someone that will see it as an opportunity to buy a record that they otherwise couldn't have afforded to take a punt on.

Weird Era Cont by Deerhunter is a perfect example of that. I happened across an article on them online, liked what I read, looked them up on Spotify, liked what I heard and have now bought the album. Without being able to listen to it first, there's no way I would have shelled out my hard earned on a band that I had such a vague knowledge of. So three cheers for Spotify I say!

Anyhow, enough Spotify love, I'm supposed to be telling you about how good 'Weird Era Cont' is. It is actually the bonus disc that comes with Microcastle, but don't be put off by that, it's not just a record full of crappy b-sides and outtakes.

Falling somewhere between Sonic Youth (in their quieter moments) and Yo La Tengo with the long, lo-fi guitar pop, this is a eclectic album that provides raw pop melodies, rythmic pounding build-ups over layed with hazy, scuzzy vocals, which creates a lazy, blissed out feel to the record.

Favourite tracks are the rhythmic 'Operation' with the line 'I hate you' repeated over and over again, and 'Vox Celeste', which sounds like a powerful song that is being played back through an old, crappy cassette player. Thanks to our Swedish chums at Spotify, you can listen to it here, and I strongly recommend that you do.

Exciting times, this is my first post from my iPhone! Full Beard goes mobile!! I wanted to get this one up before it slipped out of my mind again. I'd come across Alexander Hulme's musical tableware a couple of months back at the RCA graduate show, and had intended to post about it back then. I never did get round to doing it and had kind of forgotten all about it until I had my memory was jogged when I recognised his name on another piece of his work at the YCN design festival (more about the Design Festival coming soon).

So let me begin by saying that THESE ARE AMAZING!!! The concept is each piece of crockery in the set makes a different note when struck. That means that with the full set of tableware each note is covered. So you can be sitting at the table, tucking in to your breakfast and if the mood takes you, you can grab a spoon and tap out the Eastenders theme (or any other tune for that matter) on your bowls and mugs to entertain your fellow diners. Is that not a genius idea?

I would imagine that these have massive marketing potential. I can see these flying off the shelves at stores like Muji or Magma, not least because the set has a lovely minimal aesthetic with the just the letter of the note rendered in gold on to the china. I'd be first in line to put an order in for the set.

I mentioned that I first saw these at the RCA graduate show this summer, which I've been to for the last couple of years, each time time leaving feeling pretty inspired. The works on show ranges from fashion, graphics, fine art to vehicle design, but it has been the product design that has impressed me the most, Jon Harrison's 'Dual Purpose' pieces the first time round and Mr Hulme's this year. Make sure you make it there for 2010's show.

These covers have been doing the rounds for a while now (they were catalogued on The Moment blog to celebrate the New York Time Style Magazine's fifth anniversary last month) and I'd been meaning to post about them myself, but with holidays and just being generally busy I'd just not managed to get round to it.

I'd never come across the magazine before, living in London I don't get to see the New York Times too frequently. I was astonished at the quality of the covers, both the concepts and executions are just first class. The crop circle, cherry pie and sushi being my personal favourites.

It would seem that different artists are commissioned for each cover and given free reign over what they produce, a commendable way of working. That approach kind of echo's what I was talking about in my Spike Jonze post; artists left to get on with seeing through their idea without unnecessary interference will produce more inspiring and memorable work than is possible with design (or film in Jonze's case) by committee.

Anyhow, thought it would be nice to collect my favourite covers in one place and this seemed like as good a way as any of doing it. Kind of makes me wish London had an equivalent; a newspaper that really represented the city and the people who live here that also valued design as being an important part of doing the job. I guess in the UK we have The Guardian, which is undoubtedly amazingly designed and (in my humble opinion) generally well written, but that's from Manchester so I better not go claiming it for London!

There are but just a few weeks now. The film that every designer is rubbing his thighs at the prospect of seeing is almost with us and Vice have interviewed the man that has brought it from the pages of the book to the big screen.

Interesting that the film didn't turn out as the studio had expected. It is hinted at in the interview that Warners were hoping for another Shrek, but Jonze stuck to his guns and made the movie he had imagined and I'm sure it will be for just that reason it will go down as a classic and not forgotten/hated because it was another bland Hollywood adaptation.

The interview covers some interesting insights as to how the film came about and some of the technical aspects of producing the film, so read it here.

This is the latest version of the poster. It's a ton more detailed than the previous iteration, due to the heavy use of lines in texturing the beard.

Still not sure it's working. Not sure what the problem is though. Does it need more colour, need something else going on, I've toyed with including a nose and mouth? Not sure it's the hair assault that I'm after, perhaps the darker lines need to come off?? Flip knows!!

Keep on keeping on Stannard :)

I spotted this book while in Barcelona and fell in love with it straight away.

It's a kids book written in French (I have a very limited grasp of the language) so I don't exactly represent the target audience, but it's just a dream book for any designer.

The illustrations are so simple but at the same time beautiful and (for a non-French reader) they totally tell the story. Saying that, the typography used throughout the book is also a treat.

In what seems like an unusual move for a kids book, the story is set in big sans serif type (Futura bold condensed I think, but feel free to correct me) rather than a handwritten or script face that I would imagine would be the norm for an illustrated kids book.

And saying that the Yeti is an admirable creature is always going to sound better in French that it would in English!

From what I can make out (limited French remember) the book it written and illustrated by Fabrice Houndry. You can buy it here.

For the second leg of my holiday I traveled to Spain, and managed to take in a couple of nights in Barcelona. (I know, pretty jet set).

One of things that stuck in my head from my previous visit to the city was the graffiti that seemed to be daubed over half of the city. But when I got there I noticed that the resident artists weren't so indiscriminate.

Pretty much all of the graffiti was contained to doors and shutters. It isn't of the highest standard, but what I liked about it was that each piece is kind of framed by the doorway that it is painted within.

Due to the magnificent architecture of Barcelona these 'frames' are often quite ornate, creating a real contrast between old and new, authority and rebellion etc. of the street art and the buildings. Intentional or not I don't know, but it's a pretty cool Barca trend.

This is great. I came across it while on my holidays on the Greek island of Zante (Zakynthos). I bought some postcards from one of the local supermarkets and this was printed on the bag that they were put in to.

I love this kind of random graphic design that you find in tourist resorts. It kind of goes against a lot of the stuff that we would generally consider is good graphic design, but for some reason (kitsch, naivety ??) it works.

I'll keep my eye out for more of this kind of thing.

On my last update, I said that although I was happy with the way the illustration for the poster was going, I wanted to add a little more interest to the drawing, which I thought I could achieve by making it busier.

The picture above is where I got to after a few trial and error sketching sessions. Basically I have used the original drawing as a template, so no changes to the basic composition, but I've upped the number of lines used on each tuft of the beard.

It's a pretty time consuming method. Each line has to be drawn individually and you have to go steady to keep a clean, precise line. But I'm only half way through and already I think the increase in lines seems to be adding a lot more texture to the drawing. When it is finished it will hopefully help with the desired effect of a hair bombardment.

Accidents will happen, that's what they say isn't it? Well speaking with my designer hat on, I'm pretty glad that they do!

So often I've been toiling on a project, making a tweak here and a slight adjustment there, trying to make the change that takes what you're working on from the being 'okay, but not great' to the 'yes, spot on' point.

Sometimes, not always, as if by some kind of divine intervention chance offers a little helping hand! Whether it's an accidental 'apple, v' that plonks an object somewhere you would never have thought to plonk it. Or maybe a chance crop that hacks off far more of the image than you'd have thought was a good idea...

Yes, I'm talking about design accidents. They're a designers friend, some kind of fairy godmother that should be fully embraced whenever they deem it time to make an appearance.

You can't take full credit, because it wasn't strictly your idea, or an idea at all, but by jove it looks good so you're just going to roll with it.

So that's how the image above came about. It was a design accident. I can't really remember how it happened, but I always thought it looked kind of cool and thought that it'd be a good way to illustrate my point.

I've been thinking about getting in on this music reviewing lark for a while now. So with Spotify on everyone's computer meaning you can listen to what I'm talking about straight away, it felt like a good time to start!

I first came across Kings Of Convenience when they released 'Toxic Girl' in (about) 2001. I bought the single, but never got round to listening to any more of their stuff, but with Spotify being so nice and generous, I've recently had the chance.

Jolly glad that I did. 'Quiet Is The New Loud' is a perfect 'getting on with work' album. Just plug in your headphones and let the gentle, folk-tinged tunes fill your ears and carry you along while you get what you need to get done, done.

Comparisons to Belle & Sebastian could be made; the music is a gentle sort of folk style, but like the review on the Spot says, Kings Of Convenience's lyrics seem more concerned with 'calm moods and relationships' rather than the tongue in cheek words of Stuart Murdoch.

My favourite tracks: Toxic Girl and Little Kids. You can listen to the album on Spotify.

The release date is fast approaching and the design blogs have been posting like crazy over the past couple of weeks. Yep, 'Where The Wild Things Are' is nearly here after months of on-line whispers and exclusive screen shots, and the design community seems to be very excited.

I'm not moaning, I'm really looking forward to seeing it too. It was after re-tweeting 'It's Nice That's' tweet on the new featurette that my girlfriend asked why designers are getting sooo excited about it.

It hadn't really occurred to me that designers were any more or any less pumped for the film than anybody else, but if it is the case then I guess it's a combination of the following:

Spike Jonze is directing. He's the alternative persons director that has worked on some of the coolest promotionals of the music video genre, including 'Sabotage', 'Buddy Holly' and 'Praise You' and directed 'Being John Malkovich'. So you know from the start that he would bring something pretty cool to this film and not just be some big corporation hack making a 'safe' cash-in flick.

The use of puppets instead of CGI. I think this traditional approach really speaks out to many people from the design community. There has been a massive upsurge in graphic design over the last year or so or people getting their hands dirty and not just relying on the computer to generate their work. Illustration, collage, hand lettering etc has boomed. Helen Musselwhite's work is a recent example of this aesthetic that I've come across.

Not so designer focused admittedly, but the whole nostalgia thing cannot be overlooked. This is a book that we will all have read as a kids and most of us will have loved it. So while on the surface this could be seen as a children's movie it will appeal to that retro, nostalgic part of many of us.

Sorry to go on! Why not watch the interview with Maurice Sendak and Spike Jonze or treat yourself to a look at the trailer.

Oh, and the poster (above) is pretty cool too isn't it?

So I thought it would be a god idea to print off the poster at the size that I eventually want to screen print it at (A2). I've got it hanging in my kitchen just to get a feel for the scale of it and how it works at that size.

This version was worked up in Illustrator. I traced over the scan of my sketch with the pen tool, which has resulted in clean finish and has left me wondering whether there needs to be a bit more going on.

To add a little more interest and draw people in I'm thinking that more hair might be a good idea. In my first post about this poster I said that I would like to create something that people might have to look twice at to 'get' what the picture was of. I don't think that is happening yet, but by making it busier with more curls and ruffles going on in the beard I think I could get there.

The next thing that I will have to figure out is how to best tackle drawing the nose and mouth, ie, what technique to use; simple, cartoonish style or a more realistic finish. Hopefully though, once I've got the beard right the answer to this problem should become apparent.