Ryan Reynolds didn’t mark Blake Lively’s 34th birthday yesterday with any big tribute on his Instagram. Instead, he defaulted to the two's preferred public display of affection on social media: trolling. On his Instagram Story, Reynolds posted a TikTok of him and Mariah Carey, writing, “My favorite thing that's ever happened on August 25th.” August 25, of course, is Lively's birthday.
Reynolds has been more sincere in the past about the profound impact Lively has had on his life. In August, he told
How he felt about celebrating 10 years of dating Lively this year, “It’s great! We’re lucky. That's amazing. In Hollywood years, that's like 145 years or so!”
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When asked why their relationship works so well, he answered, “Well, we like each other, which is a good foundation of any relationship.”
On Mother’s Day in May, Reynolds also shared a very sincere tribute to Lively... well, mostly sincere anyway. There was still his signature dark humor in it. “It can’t be said enough… you’re the heart and soul of every moment this family shares, ” he wrote. “I’m grateful for the light and for the kindness you smuggle into each and every second of our lives. I see you in the eyes of our children… Every laugh. Every blink and every thoughtful moment of vulnerability. The tender grit it takes to be a mother in 2021 is an act of pure strength and heroism. Never could I have predicted anonymous airport bathroom sex would lead to this. Or how you’d hire Dog The Bounty Hunter to find me. Either way, I’m lucky to reflect a little of the sunlight you shine on all of us. Happy Mother’s Day, my love.”
Alyssa Bailey is the senior news and strategy editor at , where she oversees coverage of celebrities and royals (particularly Meghan Markle and Kate Middleton). She previously held positions at
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When she's not working, she loves running around Central Park, making people take #ootd pics of her, and exploring New York City.
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We’ve still got till 2024 to wait until the much-anticipated Quentin Blake Centre for Illustration finally opens to the public. But the major cultural venture is beginning to hint at the kind of experience visitors might expect with a new visual identity from Fraser Muggeridge studio and designer Manon Veyssière. The work is heritage-focused, drawing from the history of drawing and the location of the (currently derelict) centre: New River Head – a complex of 18th and 19th-century industrial buildings, including Britain’s only surviving windmill. But, Fraser Muggeridge also had to accommodate the diverse digital needs of the centre. And, of course, do justice to the charity’s namesake, the legendary Blake himself. No tall ask then.
The centre has been in the works for some time. Quentin Blake founded the charity in 2002 as the first and only of its kind for illustration. In 2024 it will become the national centre for the art form in the UK, with galleries, a learning studio, project space, public gardens, a shop and a café. It will also house Blake’s 40, 000+ archive of works. As of July 2022, 43 per cent of the £12 million capital for the project has been raised.
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At the foundation of the new identity from Fraser Muggeridge there are two typefaces by Commercial Type: Caslon Doric and Antique No. 6. Commercial Type is known for its revivals of 19th-century fonts from the Caslon foundry – in fact, its recent typeface created for Rapha is similarly founded. Interestingly, the Caslon foundry was located on Chiswell Street, less than a mile away from the Quentin Blake Centre’s home in New River Head, making its typefaces the historic, clear choice for Fraser Muggeridge.
The centre still needed to look approachable, though, and cater for Quentin’s harshest critics: the kids. A vibrant palette of greens, complemented by pink, orange, yellow and blue, speaks to this element of the work. “The association of Caslon Doric Condensed and Antique No. 6, paired with the colour palette, gives the Centre a bold, strong, yet playful look, ” says Fraser Muggeridge.
Just as the history of the site is represented, so too is the medium it houses. Fraser and Manon looked to the origins of analogue printing methods “where illustration first flourished and still lives”, comments centre artistic director Olivia Ahmad, for the work. This ties in once more with the centre’s location in Clerkenwell, which has a strong printing heritage. The wordmark, for example, pays homage to various forms of line-making and even reflects the lively draughtsmanship Blake is best known for. Olivia states the final identity “prioritises the work of illustrators and is flexible enough to frame the diverse range of approaches that we will continue to champion”.
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The new identity launches with a site developed by Birmingham-based studio An Endless Supply. As the centre continues to work towards a 2024 opening date, Fraser Muggeridge will lead on designing wayfinding signage and other onsite applications in dialogue with Tim Ronalds Architects.
Liz (she/they) joined It’s Nice That as news writer in December 2021. After graduating in Film from The University of Bristol, they worked freelance, writing for independent publications such as Little White Lies, INDIE magazine and design studio Evermade.
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