Leica a annoncé la commercialisation d’une édition limitée de l’appareil photographique X2 « The Paper Skin » de Fedrigoni, changeant la bande de cuir en papier spécialement traité pour l’occasion et appelé Constellation Jade, offrant une résistance plus forte que le cuir. Un appareil produit à 25 exemplaires.
A powerful new ad for Save the Children features footage of a real-life birth shot in Liberia in a bid to raise awareness of the million babies each year that die on their first day of life, and the need for trained midwives.
The film, which was not shot specifically for Save the Children but was recorded at the Save the Children-supported Maternal Waiting Home at the Peters Town Clinic in Liberia last year, is shown below. It shows a baby being born, and after initially appearing lifeless, how the attending midwife’s skills help stimulate his breathing. The film will launch on UK TV this evening during the 10pm ITV news.
It is often difficult to get attention in the crowded charity sector, but this film is a striking and emotive illustration of the importance of Save the Children’s work.
Credits:
Agency: Adam&EveDDB
ECDs: Ben Priest, Emer Stamp, Ben Tollett
Production company: The Source
Voici ce projet de Andrew Whyte qui trouve une nouvelle façon d’intégrer LEGO dans le monde avec sa série « Legographer ». La collection comporte une figure de LEGO placé dans toutes sortes de paysages et paramètres inattendus autour de la ville. Une exploration ludique du monde du point de vue du sol.
Karolis Strautniekas est un illustrateur basé en Lituanie qui dessine des scènes contemporaines originales et s’amuse aussi avec la typographie dans un style humoristique. Il travaille pour la publicité, plusieurs médias mais a aussi fait une série nommée « Portraits from Behind ».
L’agence Bolon a lancé sa collection de revêtement de sol appelé « Silence » en collaboration avec le chorégraphe Alexander Ekman. Ils ont réalisé cette vidéo dans laquelle la musique est faite par les pas des danseurs et le bruit des machines. Une belle chorégraphie, où le sol se tisse au fur et à mesure.
Our March issue is a craft special and examines how a range of creative work was made, including Maya Almeida’s underwater photographs and a 3D-printed slipcase by Helen Yentus. We also explore the science behind Jessica Eaton’s extraordinary images, and go behind-the-scenes of new ads for Schwartz and Honda…
On top of all that we look at the BBC’s new iWonder platform, review the Design of Understanding conference and books by Wally Olins and on the Ulm School of Design, and Paul Belford explains the power behind one of the most famous posters from Paris 1968.
The March issue of Creative Review will be available to buy direct from us here. Better yet, subscribe to make sure that you never miss out on a copy – you’ll save money, too. Details here.
Opening the issue, our Month in Review section looks back at the The Lego Movies’ ‘ad break takeover’; Black + Decker’s new identity; the return of the Old Spice guy; and the debate around the new Squarespace Logo service.
Daniel Benneworth-Gray raises a sleep-deprived toast to working through the night; while Michael Evamy’s Logo Log salutes the Mobil identity on its 50th anniversary.
Our craft features begin with a look at the work of underwater photographer, Maya Almeida. Antonia Wilson talks to her about what it takes to create her beautiful images…
And Helen Yentus, art director at Riverhead Books in New York, talks us through her radical 3D-printed slipcase she recently designed for a special edition of Chang-Rae Lee’s novel, On Such a Full Sea. (Yentus also created this month’s cover.)
Rachael Steven looks at the thinking behind iWonder, the new online storytelling platform from the BBC…
…While six of the objects that appear in BarberOsgerby’s In the Making show at the Design Museum are featured – each one ‘paused’ midway through its manufacture and beautifully shot by György Körössy (two pound coin shown, above right).
Antonia Wilson also talks to photographer Jessica Eaton about the process behind making her stunning images of cubic forms.
And Eliza Williams discovers how over a hundred sacks of spices were blown up in a new ad for Schwartz…
… while a more sedate approach is explored in a behind-the-scenes look at Honda’s Inner Beauty spot from Wieden + Kennedy.
We also look at why VFX is becoming more invisible, and (above) look at the latest trends in packaging.
In Crit, Nick Asbury reviews Wally Olins’ new book, Brand New…
…Mark Sinclair reports back from the recent Design of Understanding conference…
… and Professor Ian McLaren looks at a new book on the influential Ulm School of Design, which he attended in the early 1960s.
Finally, this month’s edition of Monograph, free with subscriber copies of CR, features photographs of Norfolk by designer Pearce Marchbank.
The March issue of Creative Review will be available to buy direct from us here. Better yet, subscribe to make sure that you never miss out on a copy – you’ll save money, too. Details here.
A new exhibition at Zürich’s Museum for Design showcases more than six decades of Japanese poster art, exploring changing aesthetics and attitudes towards the medium…
Japanese Poster Artists – Cherry Blossom and Asceticism includes more than 130 posters dating from the 1950s to the present day. These works are also featured in accompanying book Japan – Nippon; the latest addition to Lars Müller Publishers’ poster collections.
As the book and show explain, the poster’s role in Japan’s visual culture has changed significantly since the Second World War. In the 1950s and 60s, the Japan Advertising Annual Club – the country’s first association of graphic designers – held annual exhibitions of hand drawn and painted designs inspired by modernist ideals, which won international awards and recognition.
Rapid economic development in the 1960s led to the introduction of new printing techniques, and an increase in the quality and quantity of posters being produced. In an essay for the book, Kiyonori Muroga cites Yusaku Kamekura’s work (above) for the 1964 Olympic Games in Tokyo as a milestone in Japanese graphic design, “as it represented the intense visual impact achieved by art direction and well-executed typography, rather than pictorial graphic design.
“The poster was the most authentic and successful “advertising” for the national event, though the total design for the Olympic Games — including the pictograms — were recognised as a monumental achievement of, and an effort realised through, modern graphic design,” notes Muroga.
In the decade that followed, designers also embraced silk screen printing, creating limited editions works for artists, musicians and cultural venues and re-defining the poster as an autonomous artwork instead of a vehicle for advertising. “The development of posters sold upon their own inherent merit “generated a wave of public astonishment and fascination…helped along by the advent and quick ascension of the psychedelic poster spawned by the American Hippie counter/subculture,” explains Muroga.
A consumerist boom in the 1980s saw another new wave of designs, where fashion brands, photographers and artists collaborated on experimental artwork and many designers employed “allusive image-based pseudo-narratives” in their posters.
Posters from these decades have since become sought after collectors’ items in Europe and the west, and now feature in many foreign museum archives. In her introduction to Japan – Nippon, Bettina Richter says this probably due to their conceptual, experimental style and exoticism.
“These artworks possess an unusual visual aesthetic that is utterly captivating, and yet seems to refute all the conventional rules of visual communication…What is actually being advertised is often unclear, and the Japanese poster tends to be viewed instead as a visual embodiment of philosophical ideas of the Far East,” she says.
Today, however, Richter and Muroga say the poster no longer holds the same prestige or prominence in Japanese visual culture.
“The Japanese poster scene seems to be at a standstill. The same designers who invigorated the format generations ago now make “artistic” posters detached from any criticality in terms of content or subject….the “old masters” of the Japanese poster tradition, individuals with established reputations, dominate both poster competitions and commissions, while younger unproven designers have little opportunity and much less interest in the making of posters,” she says.
The allure of the poster may be fading in Japan but as the book and exhibition demonstrate, it’s a format that should be cherished. The range of artistic styles on show is astonishing, and the collection includes some beautiful, intriguing and innovative designs.
Japanese Poster Artists – Cherry Blossom and Asceticism is open at Museum für Gestaltung, Zürich until 25 May. For details, see museum-gestaltung.ch. Poster Collection 26: Japan – Nippon is published by Lars Müller Publishers and priced at £24.00. For details or to buy a copy, click here.
Photo (top) by Regula Bearth, ©ZHdK
Une nouvelle fois partenaire du magazine Fricote, nous vous présentons « Statues d’Auto-Entrepreneurs », une série produite avec l’aide de Leblox pour la réalisation d’impressions 3D de chefs, et leurs plats signatures. Une direction artistique signée par William Roden et Richard Banroques de WAF Agency.
Pierre Hermé – L’Ispahan
Paul Bocuse – La Soupe aux Truffes noires « V.G.E. »
Michel Bras – Le Capucin
Alain Ducasse – Cookpot de légumes
Jean-François Piège – Le Blanc-Manger
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Cette série photographique est à découvrir dans le nouveau Fricote Magazine n°14 dont la couverture a été réalisée par le talentueux duo Zim&Zou. Retrouvez aussi dans ce numéro sur le thème « ConforTable » un article « Comfy At Home » signé par l’équipe de Fubiz. Magazine disponible depuis le 13 février.
Fx Goby a réalisé en collaboration avec l’agence LeoBurnett ce superbe spot pour la marque Vitaminwater appelé « It ». Mêlant habilement animations en stop-motion, en 2D & 3D, cette vidéo d’une grande qualité joue sur le dynamisme et la variété des différents goûts du produit. Une création signée Nexus Productions.
Former Guinness brewer and author David Hughes is giving a talk at St Bride Library in London next month on the recently re-discovered ‘lost’ Guinness artwork painted by John Gilroy.
Between 1930 and 1962, Gilroy worked with ad agency S H Benson, producing hundreds of illustrations for some of Guinness’ most iconic campaigns. Many featured animals – lions, ostrich, octopus and rhinos as well as the famous toucan – while others referenced artistic and cultural figures. In 1936, he produced illustrations featuring Nazi imagery for a German distributor, but the posters were never used:
The oil-on-canvas paintings were stored in the S H Benson archive but when the agency closed in 1971, they were lost. Many were bought by a private collector and others were donated to the British Museum and the V&A.
Around 40 years later, Gilroy’s art resurfaced in the US antiques market and since then, around 320 oil paintings have been found. 250 of them are showcased in Gilroy was Good for Guinness – Hughes’ third book on the stout brand’s history.
Most of the artwork featured in the book had not previously been published and many of the illustrations are from rejected campaigns. Hughes will be discussing Gilroy’s work and methods at his talk on St Bride on Tuesday March 4.
The talk will take place at 7.00pm in the Bridewell Hall, St Bride Foundation, Bride Lane, Fleet Street, London EC4Y 8EE.
Tickets cost £15 or £12.50 for Friends of St Bride and concessions are available for students.
For details and to book a place, see stbride.org
Images above (excluding German print) taken from a set of 22 done in 1952 and never used commercially. Titled The Art of Guinness and Old Masters, they were later re-worked by Gilroy to become adverts for Guinness.
All images © David Hughes
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