The hero outside

A new installation challenges our preconceptions concerning heroism, not least because of its location on the walls of The Guards Chapel, spiritual home of the Household Division of the British Army

With British servicemen losing their lives daily in Afghanistan and yesterday’s Remembrance Day celebrations, the word ‘hero’ has been prominent in press and public debate of late. But what does it mean to be a hero today?

Complete Hero, a projection-based artwork by Martin Firrell, explores the subject through text and moving image. A series of films are projected on two sides of the Chapel, with sound accessible through headphones provided at the site.

Firrell has been Public Artist in Residence with the Household Division throughout 2009. To make the piece he conducted interviews with men and women of the Household Division, and wider Army, with direct experience of active service including Lance Corporal Johnson Beharry VC.

But the idea of heroism is also discussed in its wider sense, with actor Nathan Fillion speaking of male heroes in popular culture, writers Howard Jacobson and Adam Nicolson speaking of the hero in literature, philosopher A C Grayling, evolutionary geneticist Dr Adam Rutherford, and writer and speaker April Ashley, one of the first people to undergo a sex change operation.

“I wanted to make a piece of work that looked at all kinds of heroism, not just the usual derring-do of white square jawed men,” says Firrell. “But I thought it would be interesting to start with a white, square-jawed man and Nathan Fillion (of Joss Whedon’s Firefly and Serenity fame) agreed to come and take part – he flew in from Hollywood and kicked it all off and gave it some life on the internet at www.completehero.com. I called the work Complete Hero because I thought if you looked at different kinds of people in different contexts in different walks of life, you could do a 360 degree circle around the concept and from that the ‘completeness’ of the title would derive.”

Of working with the Army, Firrell notes that they are “the only commissioners who have not censored me at all – Tate Britain, the National Gallery, St Paul’s, Royal Opera all asked me to remove something, but the Army took it all – and they did it with the full understanding and knowledge of what it meant to take it all.”

Firrell also invited members of the public to contribute their own views and ideas via the project blog at completehero.com to help inform the final form of the projected work.

Complete Hero is at The Guards Chapel, Birdcage Walk, Wellington Barracks, London SW1, from 5pm to 9pm, tonight and tomorrow night (November 10) only

Bureau breaks rules for Whistles

Bureau for Visual Affairs‘ new site for fashion retailer Whistles breaks a few rules but quadrupled takings on its first day

When there are so many assumptions about Best Practice on the web, it’s nice to see a site that both challenges received wisdom and makes a success in doing it.

Most retailers deluge their online customers with product, Bureau’s solution for Whistles asked a little more of users but seems to have worked as sales increased fourfold on its first day. The site uses an expansive homepage that includes video footage – customers have to move around the page to discover the latest styles but, once they’ve found something they like, it only takes two clicks to put it in the shoping basket.

“Ignoring so called ‘Best Practice’ gave us angles to explore, which enabled us to develop the site to a different goal — and allowed us to shorten the click depth of the buying process whilst connecting the aspirational and the transactional part of the website seamlessly,” says Bureau’s Simon Piehl. Whistles can create new homepage content on a weekly or even daily basis. There are plans to invite guest editors, from celebrities to designers, to curate one-off homepages in future.

Whistles’ Jane Shepherdson said “We chose Bureau because they studied our brief, and came up with innovative solutions instead of telling us what we couldn’t do. They were excited by the prospect of throwing out the rule book, and have delivered something that represents our brand. It is both highly creative and commercially functional.”

 

Disclosure: Bureau for Visual Affairs also designed the CR site

Your ad on Victory Arch

If you’re based in London and journey home via Waterloo, you might notice the station’s Victory Arch start to collapse around 5.30pm, thanks to an ultra-realistic digital projection. Perhaps more worrying though, is that this famous memorial to the station’s staff killed in the first world war, is now a licensed ad site…

Projection Advertising and Titan Outdoor are unveiling AdTrace, their new “3D mapping projection technology”; essentially a digital projection that can be tailored to the exact features of the station façade. AdTrace apparently allows the mapping of complex buildings so that a projection can be matched to the contours of the structure without distorting the image. 

The press release claims that this, naturally, “makes it possible to project onto virtually any building, opening endless opportunities for advertisers and building owners.” Fair enough – and by the look of the other work on Projection Advertising’s site, for the Watchmen film for example – they do it well.

But technical innovations aside, the claim itself sounds like a fairly frightening prospect. (Remember when a static Gail Porter was beamed onto the House of Parliament for FHM years ago? Well now imagine her writhing around Big Ben itself. OK, bad example).

Joking aside however, the press release states that Waterloo’s James Robb Scott-designed, Grade II listed façade is now, apparently, “available for commercial bookings from the beginning of November”. Titan Outdoor already have the exclusive contract for ad sites at the 16 other stations owned by Network Rail.

Tonight’s digital spectacle of Waterloo “collapsing” is one thing (even if not wholly appropriate for a war memorial) but what happens once big brands get to project what they want onto the structure, using the same technology?

Network Rail clearly has other priorities. After the Victory Arch is reduced to rubble tonight, we wonder who will be the first brand to add their message to one of the capital’s grandest war memorials?

You can watch a preview of the Waterloo station projection, here.

Get Hope to Cope

Not content with helping get Gordon Brown and other world leaders to the UN Climate Change Conference with its Rise Up Twitterstorm in September, Bristol-based BeThatChange (BTC), the ‘open source’ pressure group, has now set its sights even higher. With its new Get Hope to Cope campaign, it aims to get Twitter’s highest profile user, @BarackObama, no stranger to the power of social media himself, to also attend.

BTC is an organisation made up of a small team of creative freelancers and volunteers, mainly from the design and advertising industry. Its Identity and distinctive illustrations have been created by Mike Cannings, who also worked on the website with fellow designer Paul Mills (Good Morning Please) and developer Derek Ahmedzai (NC10, Monkey Mountain).

 

The BTC website, designed by Mike Cannings and Paul Mills with development by Derek Ahmedzai and copy by project founder Kieran Battles

 

 

Some of Mike Cannings’ illustrations for BTC and its Twitterstorm campaigns

 

Ray Morrow, who volunteers with BTC, says, “When you’ve only a couple of seconds to catch eyes and imaginations, design really matters. That’s why we’ve applied everything we’ve learned in advertising to the campaigning arena – we hope that by creating a visually appealing model that lets people campaign in a click, even the most disengaged will get involved and make change happen.”

The campaign has the support of many eminent Tweeters, including @StephenFry, and also charities and NGOs such as Greenpeace, Oxfam, TckTckTck and PlaneStupid.

The hashtags being used for the campaign are #Hope2Cope and #Cop15 and you can add your weight by registering at bethatchange.com

Paris by way of Street View

Noted at the excellent thingsmagazine.net is a new project from photographer Michael Wolf, who navigated his way through Google’s Street View map of Paris to create some beautiful images of the city…

Those familiar with Street View will know that in addition to capturing the topography of a city at street level, the programme also, inevitably, captures its inhabitants. With their circular, air-brushed faces, the majority of the figures digitised for Street View are largely unaware of the Google cars with their rooftop cameras.

Now the inhabitants of Paris also find themselves in Wolf’s artistic take on the Google mapping project. And he’s retrieved some lovely moments of people and things caught for a single arbitrary moment on a particular day in the city.

By way of an explantion of his intentions with the Paris Street View project, thingsmagazine offers this quote from Wolf:

“The problem is that compared to Asia, Paris is a stagnant city – very little has changed architecturally since Atget’s times, and the cliches are a nightmare to get out from under of. Strangely enough, it was Google Street View which enabled me to take any photos at all of Paris.

“I spent weeks going through the city on my monitor, street by street, looking into windows, discovering reflections, searching out interesting juxtapositions, topologies, trying various crops/styles (Frank, Doisneau, Ruscha, and so on). The lack of a third dimension wore me down at times, but it was quite an interesting journey.”

To see all the images from the project, check out the Paris Street View page at photomichaelwolf.com.

 

Breaking the mould?

As the book industry struggles to come to grips with the challenges to print sales presented by ebooks, accelerated by the arrival on UK shores this week of Amazon’s Kindle, publishers are having to become increasingly inventive with the main selling feature available to them in the shops: the book cover.

Scholastic Press has released a wonderfully-covered version of Chris Wooding’s Young Adult novel Malice (a book about London teens who get trapped inside a nasty comic book). Witht the hardback version of the book out in the US this month, the new edition has a cover bearing a 3-D plastic figure and title, the brainchild of Alison Padley, Scholastic’s UK design manager.


Alison Padley’s ‘flat design’ for the 3D cover of Malice

Padley commissioned and art directed artist Dan Chernett’s comic book-style illustrations for the interior of the book and the cover, and coupled these with a 3-D moulding technique. “I thought when I initially saw it that the moulding would be great to use on a book cover at some point, since as far as I know that had never before been done.”

Using one of Chernett’s illustrations of Tall Jake, a character who transports the protagonists into the book’s fantasy world, she made a flat design and consulted with Claire Tagg, Scholastic’s production director. “There are five levels of depth in the mould,” Padley says. “So basically we considered what points in the artwork stand out most and went from there. As the printer worked, he sent us emails of the various stages.” Tagg comments that, even with the special cover, the UK version of Malice is still priced at the standard paperback rate.

Printer proofs of Malice’s moulded cover

An increasingly used technique for mainstream hardbacks is the printed laminated cover, which removes the need for a dustjacket. Pioneered a couple of years ago by independent publisher Canongate with Scarlett Thomas’ The End of Mr Y, the process is being used for Acts of Violence, debut author Ryan David Jahn’s forthcoming novel from Macmillan New Writing.

Will Atkins, Macmillan’s Editorial Director for Fiction says:

“PLC novels remain fairly unusual, and in the case of Acts of Violence this minimal, less fussy treatment matches the starkness of the cover image (something that’s emphasised by the blood red endpapers), which in turn reflects the spare-ness and immediacy of the writing. It’s also b-format – an unusual size for a hardback.”

Macmillan’s hope for Acts of Violence is that these design elements appeal to the book’s core readership, but are distinctive enough to seduce those attracted by strong design to pick it up off the shelves.

Picador’s new release, Dr Ragab’s Universal Language also lacks a dustjacket, and has gold foiling in addition to the print added straight to the cover. The cover for Acts of Violence was designed in-house by Stuart Wilson

But with the Kindle increasing its reach, Sony’s Reader series competing hard with Amazon and the unveiling yesterday of Barnes & Noble’s dual-screen Nook in the US (and its tie-in with Adobe), do innovative cover designs for mainstream novels really have any hope of stalling the mass adoption of ebooks?

Barnes & Noble’s Nook, released this week to compete with Amazon’s Kindle, has both an e-ink viewer and LCD touchscreen

DAD Creative Search

D&AD challenged winners of this year’s Student Awards to create a buzz for the 2010 event. Four Swedes came up with this

The D&AD 30-Day Challenge asked 15 winners from the 2009 Student Awards “to create a buzz about the launch of the 2010 Student Awards”. They had 30 days to inspire tutors and students to take part in next year’s scheme. The prize – a 4-week paid work placement at AMV.BBDO in London.

Petter Prinz, Kaspar Prinz (students at Beckmans College of Design in Sweden), along with friends Philip Cristofor and Axel Lewenhaupt came up with the idea of the D&AD Creative Search, “a tool for other students and professionals –  to simplify the way we do research on the internet” which acts as an aggregator of creative and D&AD-related content online.

“We did not want to creat a campaign which only is current during a small period of time. We do not think that’s any good solution,” says Petter Prinz. “Instead we created a tool, especially made for creatives, that can be used in their everyday workflow – this is a campaign that will live on and instead of getting weaker over time, it will  become stronger.”

Here’s a film explaining more

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The winner of the challenge will be announced on October 22

Google Street View: destination the Editors new album

To promote In This Light And On This Evening the new album by its band Editors, Sony Music has turned to an unusual media channel: Google Street View…

This is how it works: a cleverly hacked version of Google Street View allows users to preview tracks from the album in the areas of London that inspired them. As well as being able to move around as you would in the normal Google Street View, there are red arrows to find in nine different London locations (one for each track of the album) that each point to a location off the road – click it to find custom panoramic photographs of the band, shot at night by photographer James Royall.

“The images feature the band and a group of their fans performing surreal activities which have cryptic meanings relating to the songs,” explains Phil Clandillon, creative director at Sony Music. “The locations are normally unavailable on the regular Street View,” he continues. “Our modified version of Google Maps allows users to enter into these locations and make the transition from light to dark so fans can explore the band’s atmospheric vision of London at night.”

Here’s a YouTube film showing how the app in action:

“The custom panoramas were shot by photographer James Royall in multiple parts using a 180 degree fish-eye lens, and stitched together using a piece of software called PTGui,” explains Clandillon. “The modified version of Google Maps uses a custom Flash and JavaScript wrapper which employs some clever hacks on top of the Google Maps and Street View APIs. The project is a collaboration between Editors, Kitchenware Records and Steve Milbourne and myself. Programming was by Davex in Edinburgh, UK.”

To check the app out yourself (and preview the Editors new album), visit editorsofficial.com/streetview

 

The hand from above

In the latest installation by Chris O’Shea, “unsuspecting pedestrians will be tickled, stretched, flicked or removed entirely in real-time by a giant deity”

Using the BBC’s Big Screens, which are installed in various UK city centres, the Hand From Above playfully transforms passers-by

Hand from Above from Chris O’Shea on Vimeo.

 

“The BBC Big Screen is fitted with a CCTV camera, linked into a computer that runs the software then outputs to the screen,” explains O’Shea. “The software picks a person based on their proportions and how apart they are from other people, then tracks the blob over time using optical flow. If the giant hand removes, flicks or shrinks a person, firstly it rubs out the person from the live video using the background reference pixels. Then the tracked person is redrawn over the top in relation to what the hand is doing, ie being picked up, or flying out to the left of the screen (not shown in this video). When the hand shrinks a person it redraws them into the video at half scale. When there is too big a crowd it resorts to tickling people, with a random selection.”

Sounds by Owen Lloyd

Hand from Above is a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival from September 23 to 27. It will next be on show at the BBC Big Screen in Cardiff from October 22 to 24.

More details here

Only in Japan…

Nikon’s new digital camera has a built-in projector, which gave Naoki Ito of GT Tokyo an idea…

The projector in the COOLPIX s1000pj allows users to project their images onto the nearest wall, screen or whatever. In order to demonstrate this, Ito (whose work also includes Sony Walkman REC YOU and Uniqlo March) decided to strap several of the cameras to the bodies of the Helicopter Boyz, a Japanese pop act, during a live performance at Tokyo’s Yomiuri Land theme park. The photos taken by the cameras would be projected on a screen behind the Boyz during their act.

Here’s what happened

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Here’s Ito on the day of the performance with director Hideyuki Tanaka (on the right

Client: NIKON CORPORATION
Product: COOLPIX s1000pj (the world’s first camera with a projector feature)
Agency: DDB Japan
Creative Agency: GT Tokyo
Creative Direction/Concept/CopyWrting: Naoki Ito
Director: Hideyuki Tanaka
Production Company: ROCK’N ROLL JAPAN