My flyer design has been featured as a double page spread in the Japanese publication 'The image of business cards today.'

Artist Kevin Dart invites you to discover his favorite featuring swinging 60’s spy girl, Yuki 7. Seductive, intelligent, and charming, Yuki romps through film after film, vanquishing villains while looking fabulous. Since these madcap movies exist only in his imagination, Kevin has brought Yuki’s world to life through a collection of original artwork and stories. You can order the book from the website www.fleetstreetscandal.com, and there is lots more art, posters and merchandise available.

Stephane Coedel and Kevin Dart even created a trailer to promote the book. "A Kiss From Tokyo", set in 1964, Yuki 7 dashes around the world in hot pursuit of the tantalizingly tricky Diamond Eye, who is stealing parts and plans and leaving behind a path of murdered scientists in her quest to build a missile inside her volcanic lair.

This animation is a part of a promotional event about the release of Kevin's new book, "Seductive Espionage, the world of Yuki 7" which will happen this summer. Kevin produced the graphics and I gave them life in After Effects.

"A Kiss From Tokyo" Theatrical trailer from Stephane coedel on Vimeo.

I was bought this book my birthday, and what a lovely book it is too. With it's unique hand-stickered jacket, Illustration Play explores new trends in handcrafted illustration, each of which lends a welcome departure from digitally generated graphics. Illustration Play focuses, rather, on the return to experimental and unique techniques such as paper cutting, stitching, knitting, needlework, origami, patchwork and more. Thirty artists from around the globe present their distinct yet diverse perspectives on their signature styles, and the myriad skills they bring to each project, and share their resounding successes. Contributors include Catalina Estrada, Genevieve Dionne, Melvin Galapon, Caroline Hwang, Steven Harrington, Johanna Lundberg, Miles Donovan, Stephanie Dotson, Peter Callesen, AJ Fosik, Richard Saja, Ian Wright and many more. Through interviews and photos of the studios where they find their inspiration, the artists and designers takes you on a voyeuristic journey through their personal realms and share their work from vision and imagination to creation.

I've had this book for some time, it's called 'How to be a graphic designer without losing your soul', by Adrian Shaughnessy. I often find myself picking it up and just randomly reading exerts from it and no matter how many times I read it, it's always enlightening and never grows old. If you haven't read it yet, then I suggest you go and buy yourself a copy right now. I've taken a couple of exerts from the book which always reminds me to try harder whenever I start to tire of a job.

Chapter 7 'Clients', page 108

I'm always suspicious of designers who blame everything on their clients. What they're doing is blaming their own shortcomings as designers on their clients. I'm often told by new (and not so new) designers that they don't get offered interesting jobs. Yet when I look at the projects they've worked on, the assertion rarely stands up. There is no such thing as a bad job, and the responsibility for a successful outcome rests firmly on the shoulders of the designer. Of course, it is true to say that designers occasionally find themselves in impossible situations, trapped in projects where they are powerless to act and where they are reduced to slave labour. But in most cases, the eventual outcome of any project is in the hands of the designer. Failure to accept this leads to unhappiness and mediocre work.

Chapter 9 'The creative process', page 139

Sometimes briefs are simply wrong, and it is occasionally necessary to disobey them. 'Wrong' briefs make assumptions and outline premises that are incorrect, feeble or short-sighted. When you spot this, you have a choice. You can rewrite the brief; you can walk away frm it; or you can do what is asked of you. There's yet another option, and that is to disobey the brief and do what you think is right. With this approach you risk everything: you risk incurring the client's displeasure, and you risk being sacked from a project or thrown off a pitch list. But if you are confident that you are right, and you can live with the consequences, it's worth following your instincts and being disobedient.