Hasta La Ideas

The October issue of CR – a fashion special – is also available for iPad, where you’ll find all the print mag content and monograph plus exclusive additional content in Hi Res, our showcase gallery section, and CRTV, with video profiles of creative people, animations and other moving image work from around the world….

In Features we talk to the founder of clothing brand Folk Cathal McAteer and the brand’s regular graphic design collaborators IYA Studio; and new British-made shirt brand Tripl Stitched who work with up and coming illustrators including Jack Cunningham (who created this month’s cover). Plus the future of in-store shopping experiences; fashion films; the rise of the Instagram fashion blogger; and why carrier bags are collectors items.

Along with a review of new book Read Me: Ten Lessons for Writing Great Copy; a look at the history of VW ads; and not forgetting our lovely regular columns from Michael Evamy, Daniel Benneworth-Gray and Paul Belford.

In Hi Res you’ll find emerging talent from new book Fashion Photography Next; we revisit our favourite illustration commissions for CR’s last monograph; Jonny Hannah’s illustrated tour of the mysterious Darktown; work photographers navigating the balance between art and commerce in The Art of Fashion Photography; design ephemera of 1980s youth culture from new publication Rave Art; a graphic history of Soviet Space Dogs; Mark Wallinger’s London Underground project Labyrinth collected in a new book; and absurdist DIY flyers from illustrator Nathaniel Russell.

CRTV includes profiles on illustrators Wasted Rita and Stanley Chow; a selection of fashion films from White Lodge and Nowness; Blue Zoo’s animation The First Murder featuring the voice of Adam Buxton; a behind-the-scene look at Film4’s new idents; and new work from stop-motion animation duo Kijek/Adamski.

To submit work for consideration for CRTV or Hi Res, please email antonia.wilson@centaur.co.uk

For further info on the CR iPad app or to subscribe, click here.

Représenté par le même studio que Lara Kiosses, le plasticien végétal Duy Anh Nhan Duc a collaboré avec la photographe Isabelle Chapuis pour deux séries poétiques : « Etamine » et « Dandelion ». La première série de portraits se concentre sur un homme habillé et masqué par des applications de pétales d’oeillets, d’anémones, d’iris et de chrysanthèmes La deuxième série met à l’honneur les pissenlits à travers des portraits de femmes, pleines de délicatesse.

« Etamine » for OOB Magazine.

« Dandelion » for Raise Magazine.

Dandelion Video, directed by Isabelle Chapuis :

Crédits DANDELION :

Photo :
Photographe : Isabelle Chapuis
Plasticien végétal : Duy Anh Nan Duc
Styliste : Coline Peyrot
Hair : Chiao Chenet + Karine Walzack assisted by Mathieu Villalonga
Make up : Masaé Ito + Maki Ihara
Models : Charlie @ WM + Terry @ Karin Models
Premier Assistant Photo : Denis Mareau
Second assistant : Alexis Pichot
Video :
Direction Isabelle Chapuis
Vegetal artist Duy Anh Nhan Duc
Models Charlie @ WM + Terry @ Karin Models

Crédits ETAMINE :

Photographe : Isabelle Chapuis
Plasticien végétal : Duy Anh Nan Duc
Styliste : Julie Nivert
Maquillage et coiffure : Masaé Ito & Aya Murai
Modèle : Donghui Wei & Kevin Lucas
Retouche : Franck Miatello
Assistante plasticien végétal : Olivia Brunet
Assistant photo : Alexis Pichot

Years ago I was driving down Interstate 80 when a minivan rocketed past me in the left lane. I was doing about 70 in my Golf, the Dodge Caravan was doing maybe 95. Seconds later my rearview mirror filled with the flashing lights of a New Jersey State Trooper. As I pulled to the side to let him pass, I then realized he was pulling me over.

The cop explained that he had me going 87 on his radar gun, rolled his eyes at my suggestion that he tagged the wrong guy, and wrote me a big, fat ticket. It was obvious to me that the gun picked up the minivan, but as the cop came over the rise in pursuit, he saw my sporty little Golf and figured I was the culprit.

They used to say that if you bought a car in red, you were more likely to be pulled over. And if I was a cop tagging a group of cars and unsure of whom was the speeder, yeah, I’d probably pull over the car with the sportiest design. Backing this up, if a recent U.S. auto insurance study is to be believed, seven out of the top ten Cars That Get the Most Tickets (doesn’t say for speeding, so it could be for any traffic infraction) have what we consider sporty designs. What’s surprising is how un-sporty the other three are. Admittedly our parsing of this study involves a little guesswork, as only the models, not the specific production years, are mentioned. But here’s the top ten, judge for yourself:

10. Mazda2

Some 28.1% of drivers that own this tiny econobox with a rather dramatic side swoop get ticketed.

9. Toyota FJ Cruiser

A bit too bulky to be considered sporty, we think, though you can’t deny it has an aggressive profile. At any rate it’s good enough to get 28.4% of its drivers pulled over.

8. Scion tC

This diminutive but fat-fendered coupe, particularly in this color, looks like trouble. It also has 28.8% of its owners reaching for their license and registration.

(more…)

World Architecture Festival: a community space in Ho Chi Minh City designed by local firm a21studio and built using recycled materials and colourful fabric has been named World Building of the Year 2014 at the World Architecture Festival in Singapore (+ slideshow).

Working to the model of a traditional Vietnamese neighbourhood building, a21studio created this multi-purpose community space and youth centre in Ho Chi Minh City.

The steel frame and metal sheets used to build the structure were leftovers from the owner’s previous projects, allowing the building to be constructed on a tight budget.

Three layers of printed fabric cover the windows, creating a rainbow of light around the interior, while a tree shaped steel column supports the roof.

The building accommodates a cafe, and is furnished with recycled furniture. The kitchen and utility areas occupy a triangular space along one edge

.

The project beat 16 other category winners announced on day one and day two of the festival, including a church in Spain built from raw materials and an apostrophe-shaped bridge in a British industrial city.

Last year the World Building of the Year award went to the Auckland Art Gallery, an extension and refurbishment by Australian studio Frances-Jones Morehen Thorp. In an interview with Dezeen, architect Richard Francis-Jones said he “wanted to make a building that is embedded in New Zealand culture”.

Dezeen is media partner for the World Architecture Festival and the Inside World Festival of Interiors, which both conclude today at the Marina Bay Sands hotel and conference centre in Singapore.

From the architect:

The Chapel is a community space in a new urban ward on the outskirt of Hochiminh city, Vietnam. As the result of estate crisis, the surrounding area is lacking of communal centres; therefore, the Chapel is designed to be the place for people, especially the youth, to participate in activities such as conferences, weddings, exhibitions or enjoying a light coffee and snack.

The post The Chapel community space in Vietnam by
a21studio wins World Building of the Year 2014 appeared first on Dezeen.

A decade on from Modern Toss‘s first cartoon, creators Jon Link and Mick Bunnage have an exhibition of work in London and a new hardback book out as well. “Turned out alright then yeah?” as their Drive-by Abuser character might say. Well, it has – the book’s massive, very funny, and finally gives them a chance to tell their story…

Link and Bunnage first collaborated while at Loaded magazine in the mid-90s. In 1997, they came up with Office Pest, a strip “dedicated to experimental violence in the workplace”. Office-life, particularly meetings and interviews, would continue to provide fodder for their scrappy exploits for years.

In May 2004, the first issue of Modern Toss was published (shown above), featuring one of their most popular creations, the unhinged signwriter Mr Tourette, on the cover.

Some of their work had already appeared online, but the printed version was able to establish some early favourites: the aforementioned sweary creative; Prince Edward – Royal Entrepreneur; and the Weekend and Customers Services cartoons, which captured the minutiae of early 21st-century life, from watching TV to going to Ikea.

Another favourite character to emerge was the scribbled sociopath, Alan (detail from one his strips shown, above). “People seem to see themselves and their friends in him,” write Link and Bunnage in the book. “That’s when you know you’ve got a classic character. He represents the natural urge everyone gets at a dinner party to punch the host in the face while he’s talking.”

The Modern Toss take on life got noticed by beer brand Becks who commissioned the pair to reinterpret a famous album cover (they chose U2, above) and before long the MT experience was gearing up for a Channel 4 television series, the first series of which was directed by Ben Wheatley and mixed live action with drawn animations.

A second TV series fared even better – and more recent forays into animation have seen the debut of the fantastic Business Mouse, the best Alan Sugar-inspired cartoon you are ever likely to see.

There have also been TV idents, commissions for Blueprint magazine, the Guardian Guide and The Sunday Times Style magazine, greeting cards and prints – and The Periodic Table of Swearing, which was even turned into a jacket in a collaboration with tailor, Gresham Blake.

At last year’s Pick Me Up festival the Toss unveiled an artwork that required audience participation – the collaborative F***yeux Tapestry.

But going back to the work that kicked things off for them a decade ago – how do they still go about drafting those finely-honed snapshots of modern life?

On one page in the new book, there’s an analysis of the things that make those cartoons work. So here’s the Modern Toss approach, explained in their own Work drawing:

Modern Toss: A Decade in the Shithouse is published by Modern Toss Ltd., £25. See moderntoss.com. The accompanying exhibition is at Forge & Co, 154-158 Shoreditch High Street, London E1 6HU until October 19.