CR Annual: last day to enter

Today is the last day to submit entries to the Creative Review Annual 2014 – our showcase of the finest visual communications work of the year.

The Annual is CR’s major awards scheme and highlights the best work in advertising, design, illustration and digital from the past 12 months.

Entries are judged by a panel of industry experts and winning submissions will be featured in a special double issue, published in May.

At 230 pages, last year’s issue was CR’s biggest ever and featured projects from Asia, Europe, the US, Canada and Australia. Winners included Spin, Magpie, Hat-Trick, AKQA, BBH, Google Creative Lab and R/GA to name just a few.

This year’s judges are:

Lesley Allan

Client director, Radley Yeldar

Garry Blackburn

Creative partner, Rose

Ben Christie

Creative partner and founder, Magpie Studio

David Eveleigh-Evans

Principal, Method

Matt Gooden

Executive creative director, Crispin, Porter + Bogusky

Caz Hildebrand

Creative partner, Here

Louisa James

Senior digital strategist, Jamie Oliver

David Kolbusz

Deputy ECD, BBH

Marc Kremers

Digital creative director, Future Corp

Jim Thornton

Creative director, VCCP

Claire Warner

Creative director, Browns

 

For more info on how to enter or to submit your work, click here.

CR Annual deadline: December 10

The Creative Review Annual is our showcase of the finest work of the year in visual communications. There’s still time to enter: the deadline for this year’s competition is December 10

 

Spin/Unit Editions’ Lubalin book was Best in Book winner in last year’s CR Annual


The Creative Review Annual is our major awards scheme, highlighting stand-out work from around the world.
Each year, our panel of industry experts chooses the work that they feel represents the best of the year across advertising, design, digital and music videos, for publication in our special double issue of Creative Review in May.

4Creative was our Advertising Agency of the Year for 2013


Last year, among the studios and agencies featured were AKQA, BBH, Spin, Magpie, Party, R/GA, Google Creative Lab, DDB, Wieden + Kennedy, Hat-Trick, Turner Duckworth, KesselsKramer, Pentagram and Why Not Associates to name just a few.

Featured work came from the UK, US, Brazil, Netherlands, Spain, Japan, Canada, Australia, China and France.

 

Work is ordered not by category but according to the month in which it was launched

 

Our judges this year are:

Lesley Allan
Client director, Radley Yeldar

Garry Blackburn
Creative partner, Rose

Ben Christie
Creative partner and founder, Magpie Studio

David Eveleigh-Evans

Principal, Method

Matt Gooden
Executive creative director, Crispin, Porter + Bogusky

Caz Hildebrand
Creative partner, Here

Louisa James
Senior digital strategist, Jamie Oliver

David Kolbusz
Deputy ECD, BBH

Marc Kremers
Digital creative director, Future Corp

Jim Thornton
Creative director, VCCP

Claire Warner
Creative director, Browns

 

Full details on how to enter your work into th CR Annual here

 

The cover of last year’s CR Annual was created by Morag Myerscough whose work featured heavily inside

Yule Log 2.0: Animator Daniel Savage enlists 65 artists, illustrators and designs to reimagine the classic televised log fire

Yule Log 2.0


Late in 1966 NYC television station WPIX-TV gave the city’s eight million residents a roaring log fire for Christmas. The seven-minute looping Yule Log video instantly became a holiday tradition around the world. Now, nearly a half century later, Brooklyn-based animation director and…

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Limm Digital Art

Voici l’étonnant travail du collectif allemand Deskriptiv. Utilisant un dispositif complexe de programmation, il nous offre ici avec la série « Limm » un véritable éloge à l’art digital sous forme filaire faisant penser à des cartes des vents. Des visuels incroyables à découvrir dans la suite de l’article.

Limm Digital Art13
Limm Digital Art11
Limm Digital Art10
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Limm Digital Art2
Limm Digital Art1
Limm Digital Art15
Limm Digital Art12
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CR December issue: The Photography Annual

The December issue of Creative Review shares a spine with our Photography Annual 2013. In addition to 80 pages of the best photographic work produced in the past year, we have features on the enduring appeal of ad characters, Richard Turley and Bloomberg Businessweek, Hatch Show Print, and profiles of filmmaker Andrew Telling and photographer Julia Fullerton-Batten…

The December issue of Creative Review is 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.

At 204 pages, the combined December issue/Photography Annual is one of our biggest to date. And being a special issue, it’s available with three different covers, each featuring an image from one of our Annual Best in Book winners.

Shown above is Amira, shot by Spencer Murphy as part of a campaign for Save the Children; while below are the other versions featuring Ya Yun, photographed by Tim Flach; and Nala from Julia Fullerton-Batten’s Blind project.

Here are a couple of spreads from the Photography Annual side:

Julia Fullerton-Batten’s Best in Book spread

Pip’s series The Freerunner

And Jonas Jungblut’s image, King Monkey and the Infinite Sunshine

In the regular issue we take a look at Anthony Burrill’s new pull-out-poster book, I Like It. What Is It?

Eliza Williams gets her head around the hi-jinks that bookmaker Paddy Power and its ad agency have been producing…

… and she also looks at the enduring appealing of ‘characters’ in advertising, from Martians to monkeys.

Mark Sinclair talks to Richard Turley, creative director of Bloomberg Businessweek, about his team’s radical design of the US magazine – and how they regular ‘breaks’ Helvetica in the process.

Cover Lesson looks at some of the theories on creating the perfect mag cover which emerged from The Modern Magazine conference – featuring BBW, The Gentlewoman, Eye, Apartamento and more.

Rachel Steven talks to Andrew Telling, a filmmaker and composer who makes documentaries and writes scores for brands and visual artists.

And Antonia Wilson meets photographer Julia Fullerton-Batten, creator of images that blend fact and fiction to beautiful effect.

In Crit, Rick Poynor looks at a new book on The Art of Collage…

… while Mark Sinclair reports back from The Modern Magazine conference.

Gordon Comstock applauds the work – and portfolio presentation skills – of creative team, Jacob & Jim.

While Paul Belford looks at a surreal – not to mention deadly – campaign for B&H from 1985; and Daniel Benneworth-Gray stresses the importance of designing to music and how the two disciplines share underlying languages of repetition, colour and shape.

Finally, in this month’s subscriber-only Monograph, we feature some of the results of a collaboration between CIA illustrators, agency AMV BBDO and the V&A Museum of Childhood – where illustrators were paired with children, aged between three and 12, to interpret their vision of tomorrow.

The December issue of Creative Review is 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.

Degree shows: how can we make them better?

Final year students up and down the UK are beginning to plan their degree shows and, dear readers, they need your help. What did you learn from your own show and what do you wish today’s shows did better?

 

 

If you’re a recent graduate:

What tips would you give next year’s grads when it comes to the show?

Is it worth doing a physical publication or should they just have a website?

Should they theme the show?

If the college is based outside London, is it worth doing a London show? As part of a group show eg New Blood or standalone?

What about the work: how many projects should you show? Personal work or work for briefs such as D&AD?

How do you divide up the space fairly but in such a way that you can create an engaging show?

Anything else you learned?

 

The Kingston graphics show from 2013

 

If you’re a designer, creative and/or employer:

Do you attend degree shows?

If so, are you going with the intention of looking for someone to employ or just out of interest?

What do you want to see at degree shows?

What are your biggest frustrations with/criticisms of degree shows?

Is there any point to students doing printed catalogues or would you rather just view work online?

Any other tips?

What was the best degree show you ever went to and why?

 

 

Please give us your thoughts in the comments below and let’s help improve the degree show expereince for all

Rebranding your agency: pros and cons

Rebranding your own agency is no small feat. Dario Grandich, who recently saw his company transform from Snapshot Media to Parallax, here offers an overview of the experience – including the pros and cons…

Over the past year we’ve made some important decisions about the identity and direction of our company. Our business has grown considerably since 2009; we started in a bedroom, before quickly moving into the living room, and then progressed through three offices. Our projects have also scaled up, are more complex, and take longer to complete.

Throughout that growth, while so much has changed and improved, we’ve maintained the same corporate identity that we’ve had from the very beginning. My brother designed our first logo and website, and while it served its purpose well, it was often neglected.

Our brand was something we didn’t value as much as we should have; we didn’t have rules, and it was more of a visual asset than true branding. Rebranding was a big topic at a number of board meetings, and we’d all become convinced that it was something we needed to do. The decision was finally made to go ahead.

The initial rebrand was to be a slight change – replacing ‘media’ with ‘digital’ in our name, Snapshot Media, and we created a simple plan and bought the domains. It was at this crucial stage that we met Ian Thompson, from Thompson Brand Partners, who opened our eyes completely: he spoke of our brand as if it was something in all of us, something we’ve naturally created. It all made complete sense.

The rebrand process

The initial meetings were workshops where we all explained how we felt about our brand, how our customers perceived us, and then what we and our customers should be thinking. A lot of discovery work was done to establish a firm foundation, adding a lot to our business plan.

Working with TBP, we spent much time defining our values and how we wanted to be perceived internally and externally. Once we had it all down on paper, we created a brand wheel so that we could describe ourselves in three simple words: passionate, intelligent and innovative. These three words were the benchmark for every decision we made, and helped us further define our business plan.

At this point, we all realised that ‘Snapshot Digital’ wasn’t enough. Though a positive change, it didn’t match the three defining values; it wasn’t passionate, intelligent or innovative, and it would have been a mistake to proceed. We needed something new.

After many more workshops, we narrowed down our list to ten names. We closely analysed each one, searched for domains, and did the usual trademark and competitor checks. It was a close call, but there was one name that got everyone’s vote – a real breakthrough. We decided it was to be Parallax.

 

The pros of rebranding

A defined purpose and values
This really helped us understand what our brand means to us and our customers. It has helped us hire more suitable staff and target the right sort of clients, but most importantly has given us a sense of purpose. It’s not just a logo anymore.

More pitching confidence
We always thought our old visual identity made us look small-time. The new brand gave us an unbelievable amount of confidence pitching to new clients, and it’s no surprise that in our short time as Parallax we’ve won some of our biggest projects.

Beautiful and contemporary visuals
We think our logo and visual language looks stunning. It’s flexible enough for us to build on, and it matches a design style that is perfectly suited to digital. It shows a lot of the characteristics of Apple’s iOS7 which we were delighted with.

Staff morale and ambition
We got our staff involved in a lot of the brand work. I think all but one or two fully bought into the values and the new name. It was a great way to boost employee morale and make them ambitious to take us, and themselves, to a new level.

Design awards and exposure
The brand and website has been featured on a lot of design galleries and award websites, giving us a lot of exposure to the international design community. We’ve been featured on Smashing Magazine, Awwwards, and many more.

More perceived value
One of the issues of our previous brand was getting low-value leads through. Although we had a screening process, we’d still get clients looking for the cheapest agency. Now we attract the clients that have the budgets to achieve their ambitious goals.

An excuse to have a party
After a lot of hard work it was a great excuse to celebrate with all of our staff, friends and clients. It also allowed us to catch up with a lot of key clients and update them on our plans for the future. It was a great networking opportunity.

A big learning exercise
It’s been a steep but efficient learning curve. We have all learnt an awful lot about branding from real experts. It’s something that has, no doubt, made us better, and has opened everyone’s eyes to what branding really is.

 

The cons of rebranding

Resources
We knew a rebrand would be a big job, but we had no idea how big. The amount of internal hours everyone clocked up was the equivalent to a full month of billable work for the entire team.

Cost
Doing a rebrand well is never going to be cheap, especially if you do it properly. There are many different fees, and though they were expected, they added up to a considerable total. You’ve got to consider agency, print, domains, furniture and signage fees, to name a few.

Uncertainty
You can never be sure that it’s going to get you the desired effect. So many rebrands happen and get negative publicity. Fortunately, while ours went down a treat, there were still times when we were quite nervous.

IT changes
Software licences, email changes and domains all gave us a few headaches and incurred fees. We’re still using aliases instead of emails sent from our new domain, simply because it’s so difficult to move across.

Loss of brand awareness
When changing everything, some loss of brand awareness is inevitable. We’re just not sure how much. We tried to get the message across loud and clear on social media and by email, and we also kept our old website up for a while too. This wasn’t ideal, but it’s essential.

Search ranking
Our new name is a commonly searched word which has caused some SEO issues. We’re working on it and have seen some amazing gains, but we’re still not at the levels we were prelaunch.

 

Weighing it up: was it the right decision?

Absolutely. The rebrand was a long process, involving a lot of hours and people, causing internal debates, and at points becoming the dreaded design by committee. It was one of the biggest projects we’ve ever done and now, a few months after launch, I can safely say it was a very positive move.

From a business development point of view it has been great, and we’ve won new clients that have the potential to be massive for our growth. We’ve had new business meetings, and calls with companies that we’ve dreamed of working with, one of the first being with Google in San Francisco to scope a project.

For any rebrand it’s going to be about the long term value versus the short term pain. We’re glad the rebrand is over, but as for our vision, we’re only just getting started.

Dario Grandich, below, is a director of Leeds-based digital agency, Parallax.


Makr App: The digital creation that taps into the heart of DIY paper goods

Makr App


Brooklyn-based creator Ellen Johnston was among the many rising stars at Cool Hunting’s Pitch Night last month, and her digital concept shone just as bright as the many physical objects we admired. With iPad in hand,…

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Flo Heiss: Life In Ten Works

In the first of a new series, Flo Heiss talks us through the ten pieces of work that have been most important to him over his career in advertising and design. They include a mix of digital projects, typography and also some paintings…

Heiss is profiled in the November issue of Creative Review, where he talks through his recent decision to leave Dare – where he was ECD – to launch his own smaller enterprise, Studio Heiss. He cites a desire to get back to making things as the main reason for the move: unsurprisingly then, craft runs throughout the ten projects he has chosen here.

1. Italian Type

In 1993 I moved to Urbino in Italy to study graphics at the I.S.I.A in Urbino as part of the Erasmus Scholarship. I came out of a fairly rigid, but incredibly solid typography education mainly driven by Professor Frost at the Fachhochschule in Augsburg (close to Ulm with all its legacy) – he thought Ray Gun and Ray Ban were the same thing – into a free-flowing and open university in Urbino where we pretty much were allowed to do whatever the fuck we wanted. (Which set me up brilliantly for the Royal College of Art.) And in Italy I finally broke out of the ‘this-is-how-things-are-done typography’ to a more experimental style. For the first time I started to work with a Mac (Performa 630, if you must know), combining bubble jet printouts and white spirit rub print with collage, found imagery and drawing, and Polaroid photography. I did so many of those in old Italian registry books … here are a few [two are above, more can be viewed here]. This is where I started to experiment more freely and maybe more confidently. It was the first time I looked at something in itself and as a piece, rather than just a student exercise.

2. Corsarella CD-Rom

In 1995, after I finished with the diploma in graphics from Augsburg, I needed to earn some money to fund my planned trip to London and the RCA. I started freelancing for Scholz & Volkmer in Wiesbaden. I worked on one of the first commercial CD-Roms for Opel (Vauxhall) to launch their new model Corsa in Germany. We decided to use the then-cutting edge technology of Quicktime VR. Which is a shit version of today’s Google Street View. The CD-Rom was a game to hunt a lady called ‘Enrica Corsarella’ through four cities. And I decided to draw everything. The sketches are the base for the finished pieces I did. A combination of watercolour and Photoshop. Last time I looked, the CD-Rom was for sale on eBay.

3. FUSE font: F Surveillance

So my funding for the RCA was secured and off I went in 1996 to study for a masters in graphics. My tutor Jon Wozencroft gave me the brilliant opportunity to contribute to FUSE magazine. A dream come true for a student. I created the ‘typeface’ F Surveillance for issue 17 ECHO, based on surveillance cameras and criminals that you could type out to create endless scenarios of cameras watching people. Jon also very kindly invited me to contribute a film to be screened at the FUSE conference in San Francisco in 1998. I went along and found myself in amongst my heroes, and anti-heroes… Everyone from Erik Spiekermann to David Carson to Tibor Kalman was there.

4. The Rom Portfolio

My final piece for my graduation from the RCA in 1998 was a collaboration with Michael Scheufler and Tejinder Singh from the RCA fashion department. We created a CD-Rom as a portfolio piece for all students from that department and all the projections and graphics for the end of year show in the Roundhouse (which was totally empty and unused at the time). At the time I was addicted to Maelstrom on the Mac so that featured on the cover and I created a sort of Mission Impossible-a-like typeface, to sort of stay within the film theme we’d created. What I didn’t anticipate was how this piece would change my life. Literally. I met the love of my life during the making of the Rom Portfolio… I spent quite a lot of time in the computer room of the fashion department during the making of the CD, and there was a particularly nice girl who needed some urgent Photoshop help…

5. Oddbins website

After the RCA and a short stint with my friend Michael Scheufler as Germany’s answer to Gilbert & George I ran out of money and had to find a job. So in 1999 I started to work for Razorfish and designed my very first website there for Oddbins. I think that was the only thing we actually made there… I used my own handwriting as their font and created animated gifs. At the time e-commerce was still something you had to convince clients they needed. The time at Razorfish was amazing. I met so many brilliant people, most of which I am close friends with still today.

6. Loading

This film (click here to view) is a very personal piece I shot just before I joined Dare in 2000. It’s important to me because it combines my love of technology with an idea, a twist, a bit of magic … which is an approach I have used ever since to try and create surprising work (hopefully). It was also my first foray into moving image and I had it taken down from the web by Tom Waits numerous times. He doesn’t like people using his music. Even if it’s not advertising…

7. Frozen Girl

In 2003 James Cooper and I started working on the follow-up to Axe Feather at Dare. We just couldn’t crack it. It was an absolute fuck up. The idea was to use a girl frozen in ice, that you then would free by rubbing your mouse on the ice – just rubbish… So we went to Unilever and bought ourselves another three weeks to produce something else. And we came back with Lynx Blow… These images are from the Frozen Girl project, and have never been seen.

8. Sony Bravia – Van Gogh who?

In 2005 an email went round Dare from the Sony account team, to see if anyone knew someone who wanted to license a picture to Sony as a screensaver on their new Bravia range. I thought, well, I know someone… so I painted some big splashy paintings with my then one-year-old son Ben and scanned them in and one ended up on every Bravia shipped, alongside a chap called Van Gogh. I couldn’t quite believe it so I went into John Lewis to have it demoed to me… [See a film of this demo here.]

9. I Am Grumpy, Let’s Go Shopping

In 2006 I was invited by my friend Nerina Wilter to stage a solo exhibition in her wonderful gallery Home From Home in Munich. I decided to use my mobile phone drawings I did on a then-state of the art Sony Ericsson P800 (with stylus!), a year before the iPhone killed diversity… I filled the gallery with small photo prints and big screenprints, which were a little difficult to make. Blowing up the minuscule drawings in Illustrator then lasercutting plastic stencils and printing every colour separately … uff. [See more of the drawings here.]

10. Marketing Bullshit Acronym Paintings

Initially painted for the marvellous publication Can’t Understand New Technology (published whenever they feel like, by Steve Price of Plan B Studio and Camilla Grey). This set me off into a whole new direction struggling with paint and canvas. It’s so flipping difficult to do a good abstract painting… [Click here to see more of this series of paintings.]

More on Studio Heiss is online at studioheiss.com; to purchase the November issue of CR, featuring the profile on Flo, click here.

From Concept to Context

A mock-up publication produced in Context, complete with foiling

Joshua Distler, the US designer behind the LiveSurface image template library is today launching Context, a new application that offers designers the chance to see their latest projects rendered on objects in real time, as they work…

When Distler launched LiveSurface in 2006, with a series of just 25 images, it was in response to an emerging demand from designers who wanted to show new concepts in as realistic a light as possible.

Aside from shooting actual objects and placing artwork onto them, or scouring photo libraries for pictures of blank packaging, there was little out there to help accurately convey how a new design might look in the real world – and certainly with as little fuss as LiveSurface required.

The Context application has a ‘live view’ window which renders a designer’s work in real time

As I wrote last November, the success of LiveSurface over the following years even engendered a related debate about the role this kind of image-creation was playing in muddying the waters between designers’ ‘real’ and conceptual projects. (More about the article Shooting Blanks, here.)

Distler later mentioned that he was working on a new project that would change the way that designers worked yet again – and that’s where Context comes in.

Unlike LiveSurface, it is a program that links directly with Illustrator and enables designers to see just how concepts that they are working on will look like within a range of applications.

Banner signage mocked-up with LiveSurface’s Context application

The ‘ink effects lighting’ tool can adjust reflections

Instead of exporting a flat design and placing it onto a blank template (a billboard, poster or bag, for example), Context fits the design to the particular product while the design itself is being worked on.

And as there are more than 350 ‘surfaces’ available within the Context program, this should enable designers to get as close as possible to the look of a final product.

A mock-up publication

What’s really clever is that the multiple layers can control a whole range of external elements, such as shadows and reflections, or suggest processes like screenprinting and embossing. It can even convey the sense of depth unique to a particular foil stamp.

Designers can also share an ‘editable surface’ via email. Good news for clients, perhaps, who can tweak elements (see, that logo can go bigger), but certainly a collaborative element to the software that should help speed up the dialogue during any project.

Badge designs created in Context

Distler has released a promo film for Context, which can be viewed below, and from that it certainly looks like a slick, well-produced system for getting design work as near to a physical reality as possible.

Cutting the need for wasteful printed mock-ups is a great leap forward and Context looks like something that can only help convey designers’ concepts to clients, and indeed help shape a client’s feedback to designers.

More details on Context are here, while a trial version can be downloaded here.

The November issue of Creative Review is 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. Creative Review is also available for the iPad