Computer Arts UK studio rankings 2018

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Welcome to the Computer Arts UK Studio Rankings 2018! Computer Arts magazine polled over 60 top creative directors, studio founders and design course leaders from across the UK to find out which industry peers they most revere and respect, to produce its annual UK Studio Rankings. This is all about peer reputation – regardless of number of staff, operating budget or awards won. The 30 world-class studios on this list are there because their fellow designers think they should be. 

These are the UK studios behind the best logos, brilliant print ads and incredible packaging designs we've seen this year. Read on to discover the UK’s top 30 studios of 2018. Use the drop-down menu above to jump to a different part of the list, or see how the studios have fared by comparing to the UK Studio Rankings 2017.

30. Julia

• Founded: 2008
• Number of staff: 3

Since it was founded 10 years ago, Julia has worked hard enough to now expand offices into Europe. "The spirit didn’t change much," says Valerio Di Lucente, whose delighted to have made our list following an identity overhaul for Publics agency. "It's nice to realise that people recognise what we do."

29. Six

• Founded: 2007
• Number of staff: 20

Taking the 29th spot, Six’s Darren Jessopos cites "working on large branding projects in London, LA, Tokyo, Dubai and Paris" as his 2018 highlights. Having since relaunched a large new mag brand in 1010, the MD believes "a very strong in-house digital offer" is where the studio’s strength lies.

28. Johnson Banks

• Founded: 1992
• Number of staff: 8

Despite slipping down eight places, Johnson Banks' creative director Michael Johnson believes that 2019 is looking healthy, not least since the studio now has "a clutch of significant projects starting soon, including in the USA". How does the studio stand out? "Create bulletproof strategy and narrative".

27. NB studio

• Founded: 1998
• Number of staff: 12

Ranking higher than last year, NB Studio creative director Alan Dye is confident the success is due to "the new team working effortlessly together". Though there have been challenges, he suggests "it’s been the same but with an added Brexit Effect". In terms of 2019 prospects? “Watch this space.”

26. Supple Studio

• Founded: 2013
• Number of staff: 5

Inching ever upwards is Supple Studio, whose 2018 client list has included such heavy hitters as Film4, Royal Mail and Childline. “It seems like the industry in general has had a good year,” says founder Jamie Elull. “It feels like the small agency model is being recognised by clients as one that can deliver.” 

25. Robot Food

• Founded: 2009
• Number of staff: 22

“It’s great for the team to get recognition that really counts,” says Simon Forster, Robot Food founder, on the studio’s first time charting our list. He’s adamant that in 2019 success is sure to continue. “We’re working on a refresh for one of the world’s most exciting brands, hitting shelves next year.”

24. DixonBaxi

• Founded: 2001
• Number of staff: 30

London-based studio DixonBaxi is celebrating another good year, having recently bought a new workspace. “Despite a government who are asleep at the wheel, we feel very positive,’ says co-founder Simon Dixon when looking ahead. “We’re in a good place studio, both in terms of clients and the team.”

23. SPIN

• Founded: 1992
• Number of staff: 6

As if designing not one, but two Computer Arts covers this year wasn’t already a highlight, creative director Tony Brook cites “working with Apple for the first time, and the BBC,” as 2018 wins. “We have a bunch of amazing possibilities already lined up,” he says, “many of which we are making ourselves.”

22. B&B Studio

• Founded: 2009
• Number of staff: 25

“We’re pretty unique within the industry for our focus on brand creation and working with start-ups, entrepreneurs and innovators,” says creative partner Shaun Bowen. “It’s absolutely our specialism and the core of what we do, rather than a nice distraction – often the case in larger agencies.”

21. Office of Craig Oldham

• Founded: 2013
• Number of staff: 2

Always looking forward, in 2019 Craig hopes “to continue a healthy disregard for the establishment, and continue to let our morales lead us both towards the money we need, as well as our own merriment and meaning.” In 2018 he released the successful Oh Shit What Now?! book with Laurence King. 

Next page: Computer Arts 2018 Studio Rankings 20-11

20. Bibliothèque

• Founded: 2004
• Number of staff: 10

The challenges of an uncertain industry is seen as a positive by founding partner Tim Beard. “The landscape is unpredictable, but that can be a positive thing as it pushes you out of your comfort zone,” he says. Highlights of the year include Identities for David Collins Studio and Searcys of London. 

19. Commission Studio

• Founded: 2013
• Number of staff: 9

For co-founder Christopher Moorby, 2018 has been a continuation of working across a range of creative outlets. “We’ve worked with companies across fashion, luggage, furniture, alcohol, coffee, haircare, fragrance,” he says. “We’re beginning to work with a paper mill too, which is exciting.” 

18. 4Creative

• Founded: 2005
• Number of staff: 40

Head of 4Creative Alice Tonge has recently revealed the full Channel 4 network rebrand – a huge project. “E4 has had a full makeover,” she says, “We wanted to create a new brand identity that feels less structured. There are 19 idents in total created by makers all over the UK, from Newcastle, London, Northern Ireland, Wales.”

And how does it feel to be voted one of the top 30 design studios in the UK? “We pretend not to care about awards and rankings,” says Tonge, who celebrates her first full year as head of 4Creative, “but we are secretly chuffed to bits to be ranked one of the top 30 design studios.”

17. Wolff Olins

• Founded: 1965
• Number of staff: 120

“The way we work and the work we make has radically changed in the last 12 months,” says chief design officer Chris Moody. “In design specifically, the projects we are running across all our studios are doing things we have never done before – AR, VR, haptic, sonic and voice. 

“Only a moron would deny that the political climate has brought big challenges. Luckily, we see flux as a good thing for the creative industry. We have to think faster and smarter about how we answer briefs and come up with radically different solutions, but we think we have the people and the attitude to do that at scale.”

16. Made Thought

• Founded: 2000
• Number of staff: 40

Made Thought’s story this year is one of growth. “We have broadened our art direction team allowing us to work more deeply and effectively for clients like Frédéric Malle, Sunspel and Adidas by Stella McCartney,” says creative director Ben Parker, “we have created nine different photographic campaigns for the fragrance brand Frédéric Malle in the last six months alone!”

The business has also grown in the US and Asia, all from its London office. “Notable US clients include Frédéric Malle (Estee Lauder), The Museum of Modern Art and The Nue Co, and in Asia we have done work for Hyundai Card.”

15. Here Design

• Founded: 2006
• Number of staff: 37

Another studio that has shot up the rankings, Here Design’s latest projects include rebranding Grant’s whisky, and an identity for Deliciously Ella.

Here Design’s Mark Paton describes the studio as “a company of thinkers, writer, designers and makers working together to make useful and beautiful things,” and the studio puts a particular emphasis on diversity: “In our ideas, our work, our staff and our clients – everything really.”

And 2019 looks good for Here Design, as its “Here Makes division will be formally launched very soon,” reveals Paton.

14. ManvsMachine

• Founded: 2007
• Number of staff: 35

This studio has been regularly voted high in the Rankings and 2018 was full of highlights, including: “Apple name-dropping us for once, rather than the other way around,” says Mike Alderson, “working with Ronaldo, Neymar, Mbappe and Asensio on the epic Nike Born Mercurial campaign; building more of our old-school craft skills into our latest output; watching our new LA office go from strength to strength and begin to establish itself as a creative force in its own right.” 

With work covering branding, motion design and live action all lined up, 2019 is looking pretty great for MvsM too.

13. Universal Everything

• Founded: 2004
• Number of staff: Varies

Reflecting on how the studio has changed since its beginnings in 2004, Universal Everything’s Matt Pyke says, “our team has evolved with every project, from two to 32 people. This flexibility allows us to shrink and grow accordingly... we have remained very selective to the projects we accept.”

It’s clearly working, as the studio is up 15 places since last year in our rankings. Next year the studio will release its monograph, published by Unit Editions, and increase time spent on internal studio projects – researching new moving image forms, exploring multi-sensory experiences and creating physical video products.

12. Taxi Studio

• Founded: 2002
• Number of staff: 53

Celebrating its 15th anniversary this year, Bristol’s Taxi Studio is the highest ranking studio in our list outside of London. When asked for 2018’s highlights, marketing executive Joshua Matthews cites a long list that includes everything from becoming a studio that is 60 per cent female, to winning 16 awards, becoming more eco-friendly and completing a major Carlsberg brand overhaul.

How does the studio stand out from the crowd? “Real relationships and a design process which delivers true commercial success,” says Matthews. And what’s in the pipeline? “We’ll continue to rejuvenate and create brands...”

11. The Beautiful Meme

• Founded: 2015
• Number of staff: 10

A new entry on our list last year, The Beautiful Meme launched in 2015 “with a manifesto dedicated to Tricksterism,” and is up three places in 2018. Tom Sharp lists this year’s highlights as “dream clients phoning us up out of the blue, some sweet international travel, a decision for each creative director to put aside one day a week to focus on non-commercial creative projects,” and cites the major challenges since 2015 as it being “very, very cold in the studio during winter. Also there was that time we nearly went bust.” 

Sharp’s reaction to being in the top 30 studios? “It feels amazing, like a drug. Got any more?”

Next page: Computer Arts 2018 Studio Rankings 10-4

10. Alphabetical

• Founded: 2010
• Number of staff: 7

Up five places since last year, Alphabetical has had a strong year. It’s worked on a wide range of projects, including an animation series for British Heart Foundation, an identity, website and signage for boutique shop Yard Market and a bespoke typeface for London’s Fashion Business School’s 2018 season. Creative partner Tommy Taylor tells us more...

What have been your highlights of 2018?
Tommy Taylor: Hiring two further creatives to our team. As a team we now have the varied skill base, broader technical abilities and expertise we’ve been looking for. We have also had the pleasure of fulfilling another year doing what we set out to, which is not getting pigeon-holed into any one design discipline and making more lovely things.

How have you changed since you began in 2010? 
TT: We’ve definitely refined our instinct to seek out creative clients and opportunities in unexpected places. The biggest change internally since founding is our skills base, as a team. We have always made a conscious decision to work with people who don’t think exactly like we do, and who have different technical skillsets. We’re all better connected because we care about what we’re doing. Now we’re more established as a studio, we’re finding even more joy in that. 

How has the industry changed?
TT: Quite a bit in some ways, but in other ways, perhaps it hasn’t changed enough. For me the biggest change the industry has seen is the mindset of bigger clients seeking out smaller studios to do greater things.

09. Graphic Thought Facility 

• Founded: 1990
• Number of staff: 12

A staple of the top 10, Graphic Thought Facility has dropped just a couple of places since 2017. Its recent projects include menus and collateral for Chiltern Firehouse, wayfinding for Standard Hotel in London, and publications and a website for Gagosian. We asked Huw Morgan what he makes of it all...

How does it feel to be voted in the top 10 UK studios?
Huw Morgan: To maintain the support of peers is very flattering. I’m particularly pleased for the people we work with. It’s a marker of what they have achieved. But, as Computer Arts know, we’ve always had reservations about rankings – though I did always used to listen to the top 40. I can’t use it as a gauge of quality or ability, and that goes for if we are placed high or low in the list – there are admirable studios on this list, but I’d prefer longevity over fashion. 

Can there ever be too many design studios?
HM: There is business competition and creative competition. Of course any market can be saturated, and what is unhealthy is a culture of picking design by price point. Creatively, a buoyant design economy is healthy for all.

Would you ever consider moving out of London? 
HM: Never. London works as a destination for both our employees and clients – London is our home. 

08. Magpie Studio

• Founded: 2008
• Number of staff: 12

Having shot up a whopping 40 places, Magpie Studio is our highest climber. This year, it also designed the D&AD Annual – a surefire marker that a studio is doing well. Other highlights include winning Best Boutique Agency at ADC New York, getting its new website live and designing the brand for "an interesting new startup" selling non-alcoholic spirits. We spoke to co-founder Ben Christie...

What’s in store for Magpie Studio in 2019?
Ben Christie: We’ve just started working on three really interesting packaging jobs. It’s exciting as it’s a discipline my partner, David, and I both specialised in at college and have always been keen to revisit.

What about the industry as a whole, do you think?
BC: The creative industry has, on the surface, never been healthier, but education is a worry. There are more creative students than ever, yet the quality of teaching and access to studio space seems to be plummeting. Nurturing future talent is vital to our industry, but the current government doesn’t seem to agree. 

What’s been your favourite project this year?
BC: It’d have to be designing the D&AD Annual. It’s a huge honour, and collaborating with Creative Lab’s Steve Vranakis has been really inspiring.  We don’t get to collaborate with other creatives enough.

What makes Magpie unique?
BC: A lot of our clients mention the playfulness in our work. It’s something we’ve always enjoyed and have found – with the right level of appropriateness – is one of the most powerful communication tools there is.

07. A Practice for Everyday Life

• Founded: 2003
• Number of staff: 7

Up nine places from last year, A Practice for Everyday Life (APFEL) has had a busy year. It’s moved studios, and worked on projects including the design of exhibitions for the Design Museum, a new publication, Lateral Cooking and the visual identity for an NYC arts institution. We spoke to the studio...  

You’ve moved up the ranking since last year. What are you doing right?
APFEL: The only thing we know how to do: working very hard! 

Are rankings like this important to you?
APFEL: It’s a real compliment to be included – being nominated by a jury of peers is flattering.

How are you celebrating your 15th birthday?
APFEL: We’re reflecting upon over a decade of work with a series of special features on our website and social media. We wanted to look back through our archives and explore the key ideas, questions and dialogues that have shaped our practice as designers over the years – and, of course, to celebrate. 

What makes APFEL unique?
APFEL: It’s difficult to give a definitive answer, but perhaps it comes down to cultivating a distinctive approach or point of view through our work, and being certain of what it is you we to do as a group of designers in a broader sense. We’ve never aimed to have a house style, but rather a distinct and responsive approach to our projects that is grounded in research, rigour and playfulness. We hope that this comes through in everything we design, and it underpins each project we work on.

06. Superunion

• Founded: 2018
• Number of staff: 200+

It might be officially a new entry, but Superunion is not exactly a stranger to these rankings. One of the five agencies that formed Superunion at the beginning of this year – The Partners – was fourth in 2017’s list. The new agency’s projects include the Brand Impact Award Best of Show winner, Elliptic, new airline LEVEL and De Beers. We talked to chief creative officer Greg Quinton to discover more…

What makes Superunion different from the rest?
Greg Quinton: In an industry where little has changed at scale for decades, we are excited about offering something new and different. We might be one of the largest agencies, but we are boutique in attitude, so we get to work on projects where clients of all sizes need brave strategic and creative thinking to make a real difference to their businesses.

What excites you most about 2019?
GQ: Asia is really exciting, and China especially. North America has recruited some great talent and we are very excited about the new team there. In Europe all is good, however, the obvious big unknown is the ‘B’ word. Simply nobody knows what impact Brexit will have. We will remain optimistic as always. With fingers, toes and eyes crossed. Just in case!

How does it feel to be voted one of the best design studios in the UK?  
GQ: To be recognised by our peers is the ultimate honour. Awards in themselves are not our ultimate goal, but as an indicator of our creativity and ideas, they inspire our teams, excite our clients and bring the most talented individuals to our doors everyday. And before you ask, we are hiring.

05. Koto 

• Founded: 2015
• Number of staff: 36 (worldwide)

Koto stormed its way onto our list last year at number 11, and has continued its climb into the top five this year. Aside from designing for learning platform Obby, Hay x Sonos and Fat Llama, it’s expanded physically too – opening new offices in Berlin and LA, and doubling its staff members. We spoke to James Greenfield to find out the secrets to Koto’s success...

How do you stand out from other design studios?
James Greenfield: It’s less talk, more work. Too many studios are caught up in thought leadership, social strategies and diversified offers. Whereas it’s very simple: do great work and deliver it so that people will recommend you elsewhere. The network effect will take care of the rest.

What do you think is the secret to your seemingly immediate success?
JG: Be decent people, take nothing seriously other than the work. And realise there is no such thing as a branding emergency.

Have there been any challenges for you in 2018?
JG: Delivering the same work in the same way as a team of 30 rather than the six of us.

What’s next for Koto?
JG: We opened two studios on the same day. We’re now building teams, starting from small start-up spaces, just as we did in London – all sat in one room, smashing out brands and arguing about the Sonos. Also, next year is about more learning, reading more and trying more. We’re going to carry on helping the brave ones who realise the power of good branding is driven by creative and brave clients, and agencies that know what they are doing. 

04. North 

• Founded: 1995
• Number of staff: 16 

North has fallen just two places since last year, and as well as creating an impressive roster of work for international clients such as Workplace by Facebook and M+ in Hong Kong, the agency’s also recently moved offices. The new space is "a perfect manifestation of North and our approach to design", according to founding partner Sean Perkins. We asked Perkins what’s next…

How does it feel to be ranked so high in this list? 
Sean Perkins: For us, we have always known you can’t let the standards slip, you cannot afford to ever let a bad project happen. You are judged by your peers in rankings like this, and so, you have a responsibility to keep the benchmark high for London and our industry as a whole. Thank God we don’t do time sheets! It would be so painful to have to measure the amount of time we spend on a project to get it right. 

What does 2019 look like for you?
SP: Very positive, busy and exciting. However we are still increasingly concerned that young designers might not choose London as a base for their careers for much longer. We utterly depend on European talent as part of our studio approach. Brexit is an evil, foolish mistake for an open nation, which is about to suffer dropping from being a centre of the universe for design to being relegated to as low as the Vauxhall Conference League!

Are there any exciting developments for North?
SP: Yes we are working on a real website for the first time – a miracle. This, as well as various other upcoming projects we can’t quite get too deep into just yet. 

Next page: Computer Arts 2018 Studio Rankings 3-1

03. Pentagram

• Founded: 1972
• Number of staff: 80 (UK office only)

Pentagram has climbed a couple of places from 2017 after another prolific year, with its partners working on identities for Battersea, London Design Biennale and more. As ever, new talent is constantly being added into the mix – the newest partners are Jon Marshall and Sascha Lobe. We talked to partner Domenic Lippa to find out more... 

You’ve been around longer than most on our list – what’s your secret?
Domenic Lippa: We work hard at it. Our partners are based across London, New York, Berlin and Austin, but we meet twice a year and spend a lot of time with each other. We encourage our differences to exist but also celebrate our similarities. We’re by no means perfect, but recognise our imperfections as positives. 

What does 2019 look like for you and the industry?
DL: Who knows? The political changes can be worrying. We are a multicultural studio and recent events and elections have led to much uncertainty. It’s quite depressing and makes me angry. 

How do you stand out from other great UK design studios out there?
DL: We just try to keep doing what we do. Most people I admire are all running small, independent studios and doing great work. Our independence, for us, is a crucial element to maintain.

02. JKR

• Founded: 1990
• Number of staff: 292

James Nixon lists this year’s highlights as being approached by multinational clients without having to pitch, as well as work for smaller brands such as Hippeas and Ugly Water through the agency’s in-house incubator Green Park Brands. And all this hasn’t gone unnoticed, as JKR has shot up 11 places from last year. Nixon tells us more...

What makes JKR stand out?
James Nixon: The work we do has always had that quality aspect to it. We like to have the courage to do the right thing, say the right thing and encourage people to believe in what’s right, and in what’s wrong, and fall out, and get back together again, so they can grow. I think we’ve been distinctive in the space of wanting to believe in commercial value for brands.

What next in 2019?
JN: We’re going to look to be far faster, and more nimble. We want to learn from what we’ve done with the small guys and apply that to the big guys. Nimble doesn’t necessarily mean fast and shit. It means flexible, agile and collaborative.

Are lists like this important to you and the JKR team?
JN: I’d be lying if I said they didn’t mean a hell of a lot. I think the most important thing is the maintenance of the industry. Because the moment someone’s a bit rubbish, we’re all fucked. It’s so important that clients never buy, and are never happy to buy, mediocre designs. The moment that happens, the industry’s gonna suffer. So, we want rankings to continue in order to allow people to go, ‘Come on, let’s keep the quality up, and we’ll move forward as an industry’. It’s better for everyone.

01. Studio Sutherl&

• Founded: 2014
• Number of staff: 2

Studio Sutherl& is a bit of a big deal. Hitting the top spot two years in a row and voted the best studio in the UK by a panel of their peers, Sutherl& has found the perfect sweet spot. Comprised of founder Jim Sutherland and Rosey Trickett, the studio deals in elegant simplicity and is always confident, always effective and loved by clients and industry insiders alike. We spoke to Sutherland himself to find out more...

How does it feel to be voted number one again?
Jim Sutherland: It’s quite incredible and humbling news to be in such celebrated company. The new studio has been such a joy to set up – and we’ve had great opportunities to work with some fabulous clients. 

How do you stand out from the other studios?
JS: I think you need to concentrate on the work in front of you and do the best you can with that. Everything else follows. 

Are rankings like this important to you? 
JS: It’s great that it is a peers’ review. We do all work in independent bubbles – so outside recognition is lovely. Ultimately, rankings come and go, so we do just need to focus on the work itself. 

What can you do as a team of two that massive studios cannot?
JS: The world has changed – and a lot of great work comes out of the smaller studios now. The model of setting up bespoke, expert, creative teams, across disciplines for specific projects is the future, I think. Lots of smaller studios are springing up and the larger clients are going to them for their creativity. I think it’s really exciting time. 

Highlights of 2018?
JS: So far? Start-rite shoes identity launching at the start of the year. It’s such a wonderful opportunity to work with the leading children’s shoe company in the world. Also, the work for St Albans Museum + Gallery. We worked across every part of the project for a fabulous client. Walking into the reopened museum was delightful.

What’s your biggest fault?
JS: I have to learn to say ‘no’ more. I get very excited about the potential of every project, so I find it hard to turn them down. 

What’s coming up for Studio Sutherl&?
JS: We’re working on two projects in Hamburg and in Detroit – both of which are very exciting for the studio.

This article was originally published in Computer Arts, the world's best-selling design magazine. Buy issue 285 or subscribe.

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