Poke’s Tweet-powered teeth

Created by Poke for Orange, a new online game gives players a chance to win a new phone and other prizes by tweeting or posting on Facebook to move a set of chattering teeth around a specially built, fully webcammed game board…

To play, you simply add a particular hashtag to your tweet or to your Facebook update. These messages power the chattering teeth around the game board – which you can see online at phonefund.orange.co.uk. If the teeth pass a lit beacon (there are several around the outside of the track) then whoever’s message powered them past it wins a prize.

It’s pretty silly, but actually I’ve just found myself watching the live stream of the game online for about ten minutes, hoping that my twitter avatar pops up with the news that I’ve won a prize. I’ve yet to win anything but apparently fluffyhead72 just won an iTunes track.

Find out more here, but maybe don’t tell your boss that your playing games online: phonefund.orange.co.uk

 

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

New to the iPad

Since launching our iPad edition earlier this month, we’ve continued to add plenty of new CR iPad-only content, including a feature on photographer Roger Ballen, a new short film soundtracked by Radium Audio, a closer look at the work of Pick Me Up illustrators Kristjana Williams, and Michael Kirkham, and an intricate animation, inspired by a 16th century Dutch painting.

Amongst our new additions to the April iPad edition, we take a look inside the pages of Woodcut, a new publication collecting together the large-scale prints of Bryan Nash Gill.

Short film, Micro Empire, visits the world of the microscopic, soundtracked by sound design studio Radium Audio.

Rob and Nick Carter bring a 16th century Dutch painting to life in painstaking detail, in an animation that took almost 4,000 hours to complete.

Quayola and Memo have created an intricate, generative animation for the Cultural Olympiad programme at the National Media Museum.

Colin Buttimer looks at the latest release from Second Language, which includes a CD, cassette and a beautifully illustrated accompanying book. Colin will be contributing to the iPad each month, and you can read more from him over at Hard Format, a site dedicated to exploring music design and packaging.

Illustrator Michael Kirkham talks us through some of his most significant pieces of work to date, including a pop-up forest book.

And in an iPad-only feature, we catch up with Roger Ballen by phone from Johannesburg, to discuss his first major UK exhibition, and his work in general.

We also preview some of the original works from Andy Rementer’s solo exhibition, at the Ship of Fools gallery in the Netherlands.

And we look in detail at Russell Bell’s meticulous technical illustrations and maps.

The app can be downloaded from here, and includes a free sample issue. Expect more updates throughout April, and a brand new issue of the iPad app in May.

Wall Digital LED Clock

Coup de coeur pour cette horloge “White & White” designé par Vadim Kibardin : une interprétation moderne en trois dimensions sur l’horloge digitale classique. Avec un design simple mais très efficace, ce projet est à découvrir dans la suite de l’article.



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Winners Revealed At New-Look D&AD Awards

The D&AD Award winners were announced last night in a new-look ceremony at London’s IMAX cinema. Well, some of them were, we’ll have to wait until September for the Black Pencils

It’s D&AD’s 50th anniversary which means that the charity will be holding a big bash in September at which it will look back over its five decades honouring creative work and announce this year’s Black Pencil winners. Last night, however, the Yellow Pencils were announced, almost as soon as judging had finished.

In advertising, BETC’s wonderful Bear for Canal+ (our story on it here) and BBH’s Life Story for Barnardo’s (more here) won in TV and cinema.

In Mobile, AKQA won for its Star Player app for Heineken (read our story here) which introduces a gaming element to watching Champions League games on TV, while JWT Melbourne won for its Wi-Fiction app for the Melbourne Writers Festival.

There were three Yellow Pencils for Music Video: Is Tropical, The Greeks by Megaforce

No Brain by Etienne de Crecyby Fleur & Manu

 

and Manchester Orchestra’s Simple Math by Daniels

And one in Spatial Design for Leo Burnett Shanghai for the Distance Between Mother and Child for QingCongQua Training Centre.

 

The two Packaging Yellows went to Love for its special edition Johnnie Walker bottles illustrated by Chris Martin (which we wrote about here) and to Iris Nation for its special edition Heineken STR UV light bottle.

 

JWT Shanghai added D&AD to the list of award show success it has enjoyed with its Samsonite Heaven & Hell ad.

In Graphic Design there were three Yellows, for Gummo for its AR Dutch stamps

Ogilvy & Mather Malaysia for Lego posters that imagined real life scenes as if depicted in the building bricks

 

and for the 100 Graphics of Anatomy Chart by Nippon Design Centre for Gallery Leta.

 

Magazine & Newspaper Design saw one Yellow Pencil, for Bloomberg Businessweek’s brilliant Steve Jobs tribute issue (of which more anon)

 

Noma Bar’s Don DeLillo series won in Book Design (our story here), as did Marion Deuchars’ Let’s Make Some Great Art (which also won a Yellow in Illustration).

 

In Outdoor Advertising there were Yellows for the John Smith’s Commemorative Plate ad by TBWA\London (a very similar idea to KK Outlet’s Royal PLate show which we covered here), Samsonite Heaven and Hell (again) and Operation Christmas, a campaign by Lowe/SSP3 in Colombia aimed at persuading FARC guerillas to give themselves up.

 

TV & Cinema Communications saw Yellows for Ogilvy Johannesburg for MK, Euphrates for the Japan Broadcasting Corporation 2355-ID campaign, Blur for its Girl With The Dragon Tattoo campaign and 4Creative for Street Summer (we covered it here).

The campaign for Laura Marling’s A Creature I Don’t Know album won a Yellow Pencil in Illustration.

 

Digital Advertising saw Yellows for Wieden + Kennedy’s Kaiser Chiefs Bespoke Album Creation Experience (which also won in Integrated and we wrote about here), 72andSunny for K-Swis Micro Tubes

and Crispin Porter + Bogusky for American Express Open Small Business Gets an Official Day.

There was just one Yellow in Branding – to AMV BBDO for its GE Living Masterpiece installation.

 

The Digital Design jury was very generous, giving out seven Yellows: for Dentsu Tokyo for in Websites for Honda Internavi Dots Now

B Reel for the 3LiveShop, Tribal DDB for Philips Obsessed With Sound

 

and, again for Dentsu, Honda Connecting Lifelines

Plus DDB Paris won Yellow for Greenpeace A New Warrior

Mirada for the Rome music video

 

and Forsman & Bodenfors for the Tram Sightseeing app for Vastrafik.

 

Finally, Samsonite picked up another Yellow in Art Direction while Clemenger BBDO won for Ghost Chips for the NZ Transport Agency in Integrated and Earned, as did McCann Erickson Bucharest for American Rom for Kandia Dulce.

Finally, there were two Yellows in Product Design – for the Nokia N9 and Barber Osgerby’s Tip Ton chair – four in Radio Advertising – Grey Advertising for the Nelson Mandela Foundation, Be Bravo for Leica (which won two) and Net#work BBDO, Johannesburg for Mercedes-Benz – and two in Direct – 303 Group (Sydney) for Ikea Rent and LOWE/SSP3 in Colombia for Ministry of Defense, PAHD and Rivers of Light.

All the results, including nominations and in-book are here.

The new format – a free cinema-style event for invited nominees and judges instead of a sit-down gala dinner – wasn’t entirely a success. It all felt a bit awkward and stilted and perhaps not quite the career highliight that winners might have imagined getting their Yellow Pencil to be, but it was a very difficult call for the organisers. They couldn’t do two big events in the same year and the old model wasn’t exactly loved by all. If you were there, let us know what you thought below.

Any glaring omissions? Well, the one that springs immediately to mind is the Comedy Carpet (see Michael Johnson’s thoughts on that here) which was entered but didn’t even get in the book. Such are the vagaries of awards juries…

 

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here

Grant Orchard’s Yeah Just There promo

StudioAKA director Grant Orchard has created a saucy one minute animation to showcase some of the sexy graphics that feature in his custom wallpaper-generating Granimator iPad app commissioned by onedotzero

Yeah Just There from Grant Orchard on Vimeo.

Regular readers will recall that Granimator is a custom wallpaper creating iPad app, devised by ustwo (who we wrote about in our July 2010 issue). We then went on to curate a series of CR Granimator packs with five artists.

Now onedotzero’s series of Granimator packs has hit the virtual shelves and it features packs by 3KG, H5, Hideyuki Tnaka, Punga, LOBO, Motomichi Nakamura, as well as Grant Orchard’s pack, entitled Yeah Just There. However, a few months ago Orchard didn’t think his app was going to make it into the App Store.

“The YeahJustThere App was originally rejected by Apple in Dec 2011,” he says, “but we carried on with the animation so we could contribute to onedotzero’s 15th birthday celebrations in some way. Luckily the app was re-submitted and accepted at the start of April – so happy days.”

Find out more at granimator.com/artists

Credits for the above animation:

Visuals by Grant Orchard
Sound by Nic Gill @StudioAKA

Brain Farm Digital 2012

Voici l’impressionnant et superbe showreel “Digital Cinema” du studio de production Brain Farm pour l’année 2012. Un montage efficace aux images très inspirantes dirigé par le réalisateur Curt Morgan déja auteur du célèbre The Art of Flight. A découvrir en HD dans la suite.



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What’s inside?

In a new short film, animator Rok Predin takes a peek inside a selection of seemingly innocent-looking things…

The sequences that make up Predin’s 1.15 minute film may look like they belong in a children’s book – apples with worms inside them; pumpkins with candles lighting up their insides – but some of them are a little more disturbing than others. Created using Cinema 4D and composited in After Effects, Inside was produced by Richard Barnett at Trunk Animation.

The film, which Rok says “lets the viewer ponder the traditional relationship between internal and external space” makes use of a great colour palette and Ivan Arnold’s soundtrack only adds to the strangeness. Predin’s Vimeo page is here.


 

 

CR in Print

Thanks for visiting the CR website, but if you are not also reading CR in print you’re missing out. Our April issue has a cover by Neville Brody and a fantastic ten-page feature on Fuse, Brody’s publication that did so much to foster typographic experimentation in the 90s and beyond. We also have features on charity advertising and new Pentagram partner Marina Willer. Rick Poynor reviews the Electric Information Age and Adrian Shaughnessy meets the CEO of controversial crowdsourcing site 99designs. All this plus the most beautiful train tickets you ever saw and a wonderful behind-the-scenes look at Thunderbirds in our Monograph supplement

The best way to make sure you receive CR in print every month is to subscribe – you will also save money and receive our award-winning Monograph booklet every month. You can do so here.

Vimeo Awards voting opens

The shortlists for this year’s Vimeo Awards have been announced with public voting now open. The winners of each category receive a grant of $5,000.

The Vimeo Awards apparently had 15,000 entries from 147 countries this year, according to the organisers. A judging panel will decide the winners but with input from a public vote which is open until April 30.

Categories include Motion Graphics (for which Koji Aramaki created Wave Reflection, below and still shown top), Advertising, Experimental, Animation and Music Videos.

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There will also be three honorary awards: the
 Social Change Award, for a project that has used online video for social impact; the
 Digital Maverick Award, for someone who has ‘changed the landscape of online video’; and the
 New Creator Award, given to ‘the newcomer who impressed us most during the past 18 months’.

See all the shortlisted films here

 

The Creative Review iPad App

The Creative Review iPad app is (finally) here, with exclusive content and updates throughout each month for your viewing and reading pleasure. A free sample is available now

Yes, we know we have been going on about our iPad app for what seems like forever but it is now on sale here.

The first thing to say about it is that, unlike some other magazine iPad apps, it is not a digital version of the printed magazine. It may share some content with the printed version, but that content is presented very differently for a different device and, at least in part, a different audience. And there is a lot more content that is exclusive to the app.

 

What does it do?
We already have a print magazine and a very widely read website so when we sat down to think about an iPad app the first question was how does it fit in to what we already do and why would someone pay for an app when they can already view some content on the web for free?

The app is designed to provide content that exploits the iPad’s strengths as a medium – longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about depth, viewing and reading. Different content in a different format.

As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. So if you pay for one month’s access, in addition to the content in the app when you first download it, we will continue to update it with new stories throughout the month.

 

The app has four content sections: Hi Res, CRTV, Features and Ticker. To return to the contents page above at any time, just touch the CR button top left. Touch the section title to go to the first piece of content in that section.

Hi Res is our showcase section, taking advantage of the iPad’s superb screen to display full-bleed images and videos. In it you will find a new feature, My Life in 10 Pictures, in which high-profile practitioners such as Marian Bantjes and Stefan Sagmeister tell the story of their carer so far in 10 images. You will also find portfolios of exciting illustrators and photographers, How It Was Done features on the making of new work, extracts from new books, award-winners and more. Swipe through the images, choosing either page view or full-screen mode.

 

CRTV is our video section featuring our own filmed interview series along with our pick of short films and other moving image content from around the world. Each video is available either in streaming mode (press Play Video to view) or it can be saved to the app to watch in hi-res offline (press Save Video).

 

In Features you will find all the feature and Crit content from the current print issue of CR with, where possible, additional still and moving image content. There will also be iPad-only features added to the content during each month.

Each feature begins with a main ‘splash’ image and headline. Scroll down to read the full text and reveal additional images and videos. Double tap these to view at full-screen.

Finally, Ticker (far right column on the home page) is a constantly updated stream of selected stories from the web, keeping you up to date with the creative world. Each story opens in a browser inside the app, making it easy to return to the CR app when you are done.

 

How much?
The app costs £3.99 a month if you sign up for a rolling month-to month subscription, £4.99 for a one-off, one-month issue and £39.99 for a 12-month subscription.

After a lot of discussion, we decided to follow the same model we employed with our previous iPhone apps for the Annual and Photography Annual and make the iPad app a standalone product, ie not to bundle it in with existing print subscriptions. We know that this may disappoint some print subscribers and it’s probably the one aspect of producing the app that we debated more than any other.

One of the reasons that the app took so long to develop was Apple’s shifting policy on what it would allow publishers to do in this area. We had been looking at options including ‘bundling’ print and iPad subscriptions or offering print subscribers the iPad app at a reduced rate. However, not only do Apple disallow some of those options, they have also changed their position on this. We did not want to be in a position, again, where we developed one version of an app, only for Apple to change their policy, meaning that we would have to start all over. The safest and most reliable route, we therefore decided, was simply to sell the app through the App Store.

Our other option in relation to existing print subscribers was to give them free access to the Ipad app. This would have involved considerable extra development cost and time so we had to make a decision based on whether that time and cost would be justified by the likely number of print subscribers taking up the option and the incentive value of offering both in the future.

Our research revealed that the vast majority of print subscribers want to read the magazine in print and not on screen: very few of them currently take advantage of the fact that they can read magazine content here on the website, for example, and equally tiny numbers took up our E-CR PDF-based option in the past. Also, with CR, many print subs are taken out by companies who share a copy: you cannot do that so easily with the iPad. I’m sure there are exceptions and I know already from Twitter and emails that we have received that some are disappointed that they are not going to be given the iPad app for free, but we had to make a decision based on the bigger picture.

We were faced with delaying the app even more and pushing up our development costs still further for the benefit of quite possibly very small numbers of subscribers. And if we had done that, the pressure would have been on us to recoup those costs by increasing subscription prices, as other magazines have done, thereby asking all print subscribers to pay for something that only a minority can take advantage of.

I hope that by being so open in our decision-making on this, even those print subscribers who are disappointed that they won’t be getting the iPad app for free will understand why we have gone down this route. We’ll always listen to what our subscribers ask of us and we are not ruling out offering combined print/iPad subs in the future if there is sufficient demand.

 

Who built it and how?
Our iPad app was developed for us by Alasdair Scott and Simon O’Regan at The Brightplace. We decided not to use one of the iPad magazine platforms on the market and instead built our own CMS-based system. Because we have very limited resources here at CR, we needed a system that would allow us to deliver the maximum amount of content to readers with minimal production time. Therefore, we have gone for a very simple, template-based system which we can manage within our own team and which allows us to update the app with new content relatively quickly  throughout each month. Under Apple’s system, we are able to update once a day.

What’s next?
All publications develop over time and we are already working on additional functions for the iPad app (as well as, of course, taking in all your feedback for tweaks to this version). One of the first things we will be looking at is sharing content. The idea of sharing content is tricky for iPad apps – what exactly would you share and, given that someone has to download the app in order to access content, why would you share it? We believe we have an interesting take on that – watch this space. The current version of the app does not allow people to comment on stories. We believe that the blog is the best place for debate plus, not everyone enjoys that side of things. Those stories that we think people will want to comment on will still appear on the blog. The app offers a different experience, more about inspiration, viewing and reading, more appropriate for a device that is not always online, and more suited to those who don’t like to venture below the line into the sometimes heated world of the comments section. If there is great demand for commenting, we may look at this again. In the meantime, please let us know what additional functionality you would like to see in later versions of the app.

If you would like to give the Creative Review iPad app a try, there is a free sample issue available here.

Butcher’s Hook make their mark

Three graduates sought to introduce their new studio to locals via a neat bit of window dressing, providing passers-by with unique prints – and a business card

Butcher’s Hook is (or perhaps that should be wil be) a three-member design studio and gallery based in an old butcher’s shop in London’s Portobello. The studio has been formed by Benio Urbanowicz, James Coltman, Josh Blanchett and Dan Jones, students from Kingston and LLC, all of whom graduate this summer.

The threesome have vowed to spend 10 per cent of their time working on local community projects and to this end plan to operate a ‘walk-in studio’ once a week, where anyone can walk in with any sized brief, “which we’ll be over the moon to work on”, they say. “We would like to become a design studio for people. All shapes and sizes of different people.”

In order to introduce themselves to the local populace, Butcher’s Hook set up a digital display using an old Nintendo Wii remote, custom made Infa-Red yellow pencils, a wireless doorbell, a printer and a few extra ingredients.

“We gave away free art made by the user themselves, with the option to receive a digital copy sent to them,” they say. “We had a great weekend, where over 150 people got involved, through their own choice… and every single one went home to find our business cards printed on the back of their own masterpiece.”

As well as launching their studio, Butcher’s Hook has also entered the project into the D&AD Student Awards in response to the brief Make Your Mark.

Regular readers may recall that Urbanowicz also won our recent BFI competition to design a book cover.

 

CR in Print

Thanks for visiting the CR website, but if you are not also reading CR in print you’re missing out. Our April issue has a cover by Neville Brody and a fantastic ten-page feature on Fuse, Brody’s publication that did so much to foster typographic experimentation in the 90s and beyond. We also have features on charity advertising and new Pentagram partner Marina Willer. Rick Poynor reviews the Electric Information Age and Adrian Shaughnessy meets the CEO of controversial crowdsourcing site 99designs. All this plus the most beautiful train tickets you ever saw and a wonderful behind-the-scenes look at Thunderbirds in our Monograph supplement

The best way to make sure you receive CR in print every month is to subscribe – you will also save money and receive our award-winning Monograph booklet every month. You can do so here.