Review: Kyoorius Designyatra Festival 2011

Detail from the Designyatra set, which features props related to all the speakers. By Kay Khoo

“All my books are torture,” confessed Irma Boom in a heartfelt talk that was a highlight of this year’s Kyoorius Designyatra festival in Goa.

Boom joined a variety of international and home-grown speakers at the conference, which is the primary event of its kind in the region, and is now in its seventh iteration. She treated attendees to a showcase of her work so far, talking through a number of her book projects and increasingly wowing the audience with tales of the painful lengths she has reached to complete her designs in the way she felt was right, regardless of the objections of awkward collaborators and pesky publishers. By the end of the session, when she showed a series of increasingly small, but perfectly formed books, the audience was whooping and cheering at each new revelation.

Irma Boom on stage at Designyatra

While Designyatras in the past have been well stocked with huge names from the graphics world, Boom was among only a small group representing the field this year (particularly as one of the key speakers, David Carson, performed one of his famous ‘no-shows’). Instead, the organisers themed the conference around the word ‘Next’ and decided to introduce a wider spectrum of designers to the audience in Goa than have previously been seen there. These included many practitioners of digital and 3D design, including Troika and Peter Higgins from Land Design, and also advertising. Mark Chalmers from Perfect Fools and Nathan Cooper from Anomaly both spoke about the latter, showing some impressive pieces of work, with Chalmers in particular wowing the audience with a project for Converse, which saw a wall of shoes transformed into pixels in a wall display (film below).

Despite the enthusiasm greeting this project, the idea of embracing digital in a broader sense was met with a mixed response. In the Q&A following Chalmers’ talk, a member of the audience gave an impassioned speech about the glories of print design over digital, gaining a huge round of applause. Despite the wide associations India may have with technology around the world, it would appear that a wholehearted adoption of digital in design may still be some time coming.

Adrian Shaughnessy

A number of talks offered up pragmatic advice to the audience. Adrian Shaughnessy shared his top ten list of the traits of ‘good designers’ that he has observed during his career. These included such delights as ‘good designers are selfish egotists’, ‘good designers are liars and cheats’, and ‘good designers are plagiarists and copyists’. Judging by the cheers from the crowd, largely made up of designers, there seemed to be little resistance to such bawdy descriptions. As an aside, Shaughnessy also revealed his favourite-ever client, which, somewhat surprisingly, was the rock band Primal Scream, who are apparently deeply polite, even arranging a meeting after a project was finished, just to say thanks. Aw.

Typeradio get interactive with the crowd

Typeradio founders Donald Beekman and Liza Enebeis, who have interviewed over 400 designers in the seven years that their online radio station has been running, shared some tips on their technique, revealing that their opening question is always ‘are you religious?’. Perhaps this is an approach CR should begin taking. They also got the audience involved in some lively interactive activities. Elsewhere in the festival, there were films on show, with Hermann Vaske talking through his clips on creativity, and a film of an interview with Massimo Vignelli, played in lieu of an appearance at the festival which was sadly cancelled.

More pithy advice came from Richard Holman from Devilfish (who was given the tricky last speaker spot), who eschewed the usual format of showing his own work to concentrate largely on sharing work by people who’d inspired him. These included a clip of the wonderful Dennis Potter interview conducted by Melvyn Bragg shortly before the writer’s death in 1994, where he explains in vivid detail the joy of seeing the spring blossom outside his window, which Holman used to illustrate his theory that designers should try to live in the present. A transcript of the Potter interview is here. Holman also shared his ‘real’ Simpsons film for Sky, above, which proved a great crowd pleaser.

Raw Color demonstrate getting ink from beetroot

Two talks came from ‘young blood’ representatives: firstly Raw Color, (Christoph Brach and Daniera ter Haar) who shared some of the beautiful design work they’ve created using ‘vegetable ink’ (image above). Novi Rahman, a designer at Wacom Europe, then followed and won over the crowd with her demonstration that digital design can still be rooted in the human.

The Khoslas

Collaboration was further theme of the day, with many designers explaining that being open to working with others, and across disciplines, is central to their work. Sandeep Khosla, of architect’s firm Khosla Associates, and Tania Singh Khosla, of graphic and interior design firm Tsk Design, who are both husband and wife and regular work collaborators, discussed how they had worked together on a number of projects across India, and shared some particularly stunning architectural projects, including their own home.

Johnson with various audience members

Moderating the festival this year was Michael Johnson of Johnson Banks, who also spoke as part of a panel on branding, and gave a star turn on the guitar at the opening of the festival. Johnson provided the winning combination of being a witty host who had a strong sense of timing, preventing any of the talks from drifting too far past their time slots. He wrapped up the event by inviting members of the audience on stage to offer their views on what was good about the festival and what they’d like to see next year. Comments were mixed, though there was a regular request for more speakers from other parts of the world after a line-up this year heavily dominated by Dutch and British speakers. Of the talks most enjoyed, Shaughnessy, Holman and Boom enjoyed particular shout-outs, and there were even several cheers for the digital talks. So perhaps there’s hope for digital design in India yet. No doubt all will be revealed in future Designyatras.

The Kyoorius Designyatra takes place each September in India. More information on the event can be found online at designyatra.com.

Nice work from Coke, Philips and more

This week we have a bumper edition of nice work for you, which covers Coke’s Great Happyfication, angry corporate office-workers, batik-making in Indonesia, and a trip with Pharrell to Tokyo.

First up is Coke’s new animation, the latest iteration in the Happiness Factory series, starring wham-bam, magic-man Pete, a trio of singing penguins and various other bizarre creatures. Agency: Wieden + Kennedy Amsterdam. Creative directors: Eric Quennoy, Mark Bernath. Art director: Matthew Jerrett. Copywriter: Sean Vij. Production company: Psyop/Smuggler.

Philips’ new interactive music video features the Dutch Metropole orchestra, and aims to emphasise Philips’ quality of sound by allowing the viewer to single out any member of the 51-strong orchestra. The site allows you to hear each individual’s contribution, as well as discover some facts about each musician. For example, Moog player Berend Dubbe has performed for over 36,000 hours, and has been playing music for 35 years. Advertising agency: Tribal DDB Amsterdam. Art director: Bart Mol. ECD: Chris Baylis. Copywriter: Pol Hoenderboom. Production company: Stinkdigital.

Directed by Yoann Lemoine, this new ad for Cadbury’s Twirl Bites focuses on all things that spin. Featuring a twirling carwash of penguins, office workers having far more fun than they should be, and a rotating UFO complete with alien, this ad aims to “bring to life the joy of twirling”.

As you can see in this making-of video, the set is the real deal, with each part handmade and painted, and the end result a fully operational machine. Creative Agency: Fallon. Creative directors: Shishir Patel, Sam Oliver. Art director: Rich Gayton. Copywriter: Darren Beresford. Production company: HSI.

Next up is Air France’s film, L’Envol, which sees the airlline apparently evoke “the more poetic side of flying”, with a performance from two intertwined dancers. Advertising agency: BETC Euro RSCG. Director: Angelin Preljocaj. Creative director: Florence Belisson. Copywriter: Veronique De Surmont.

Asos’s Urban Tour promotes the clothes brand’s Autumn/Winter menswear collection. Featuring some pretty serious dubstep, the film sees a variety of talented street dancers perform, and allows the viewer to zoom in on individual dancers, as well as their clothes. Similar interactive videos are to be launched for Paris and Tokyo, featuring in-line skating, and Japanese beatboxers. Creative agency: BBH. Directors: Sebastien Strasser and Ben Newman. Creative director: Dominic Goldman. Copywriter: David Kolbusz. Production company: Stink Digital.

Greenpeace is celebrating its 40th anniversary with a video that sees them triumph over a wealth of irate, corporate office workers. Director: Peter Thwaites. Production company: Gorgeous Films.

Not for the faint-hearted, CURB have created an advert for new movie Contagion that is quite literally viral. Following the theme of the film, which tracks the path of destuction left in the wake of a lethal airborne virus, this abandoned shop window in Toronto houses two giant Petri dishes which gradually grow the title of the film over the course of a few days.

Intel have created the third in their series of Visual Life blogger profile films (previous films have featured The Sartorialist, and Kitty & Lala), and this time round the focus is on Indonesian batik designer Nancy Margried, who takes us through the fractal designs newer technology is allowing her to create. Agency: Amsterdam Worldwide. Creative directors: Richard Gorodecky, Joseph Ernst. Copywriters: Martin Beswick, Karen Cardy. Production Company: @radical.media

In collaboration with Palladium Boots, Pharrell visits Tokyo in a series of five short films, that see him speak to artists and designers about the impact of the recent tsunami and earthquakes, and how Tokyo’s creative community is recovering.

As part of Studiocanal’s rebrand, Devilfish has created a new cinema ident, which was made from light projected through an installation of 25 glass panels. Agency: Devilfish. Creative director: Richard Holman. Design/Direction: Double G Studios.

scrape | artwork and documentation | seoul square media canvas | robert seidel | 2011 from Robert Seidel on Vimeo.

And lastly, this new film from artist Robert Seidel, which was commissioned by the Goethe Institute Seoul, and will be displayed on the facade of a building in the city until Sepember 27.

Textile Field at the V&A

As part of a number of events and exhibitions taking place at the V&A in London for this year’s London Design Festival, French designers Ronan & Erwan Bouroullec are offering visitors the chance to view the Raphael Cartoons in an entirely new way…

The Bouroullecs have installed Textile Field, an undulating carpet-cum-lounge of soft fabric onto the floor of the space, and are encouraging audiences to lie down upon it to view the paintings. The piece has been created by no less than a Royal sanction, as the Royal Family own the Raphael Cartoons and therefore have to give permission to any adaptation to the room containing them.

To walk on the work, visitors have to change into a pair of specially designed booties, which can be seen in the photos above. “We were invited by the London Design Festival to choose any space we wanted within the museum for our installation and were immediately drawn to the Raphael Gallery,” says Erwan Bouroullec. “It’s an opportunity to create an environment for viewing art which has never been done before.”

The Bouroullecs are among a number of designers and artists invited to create work for this year’s LDF at the V&A. Architects AL_A have created a stunning 3D spiral made of American red wood, which is positioned at the main entrance to the museum, while curator Murray Moss has collaborated with Belgium-based group Materialise to create an exhibition of works created using 3D printing. There is also a specially made Granimator app, an exhibition about ‘brutal simplicity’ by M&C Saatchi ad agency, and work by recent graduates from the University of Arts London, chosen by Giles Deacon, is displayed in the V&A’s British Galleries. And for those who would like to wander the museum guided by the famous, Johnson Banks has created a new set of bespoke maps of the museum which feature selections by Judi Dench, Tom Dixon, Annie Lennox and more (see last year’s maps here).

All displays will be on show throughout the London Design Festival, which runs until September 25. More info is at vam.ac.uk and londondesignfestival.com.

Pop-up Design Museum

To help promote its imminenet move, the Design Museum asked Kyle Bean to create a pop-up card of the former Commonwealth Institute that will house the Museum from 2014

Shown here is an A3 protype but A5-sized cards will go on sale at the Design Museum shop later this year. Principally, the cards will be used as a PR exercise to build awareness of the move. The prototype will be on show at the Commonwealth Institue this weekend (September 17-18) as part ofan open day, the last chance the public will have to visit the building before it closes for renovation. More on the project here

We’ve followed Kyle Bean’s work since first spotting him at his Brighton degree show in 2009 (we featured his paper models of mobile phones here). See more of his work here

 

 

CR in Print

Thanks for reading the CR website, but if you are not also getting the printed magazine, we think you’re missing out. This month’s issue has a superb feature on the Sainsbury’s Own Label packaging of the 60s and 70s, a profile of new Japanese creative supergroup Party and our pick of this year’s top graduates. Read all about it here.

If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

 

Made (by hand) in Breukelen

The story of Breukelen Gin is told in this lovely short film that ties together two emerging cultural trends: the rediscovery of the hand-made and the rise of Brooklyn (or Breukelen) as a brand

Breukelen Gin packaging by I Love Dust

Breukelen Gin (taking the old Dutch name for the New York borough) was started by Brad Estabrooke after he was laid off from a job in finance in 2008. His story is told in the above film, the first in a series named Made By Hand, a filmmaking project that looks to document the “handmade” movement in Brooklyn and further afield. Their next film will focus on Cut Brooklyn, a knifemaker.

Hipster Brooklyn, with its independent shops, flea markets and ever-growing population of creative-types is a natural home for such businesses, often started by the disillusioned and the recently redundant looking to somehow do something ‘real’ with their lives and their pay-offs. After years of building websites, brands or M&A deals, getting your hands dirty no doubt has its appeal.

Across the water in Manhattan, there are similar enterprises, such as graphic designer Peter Buchanan-Smith’s Best Made axe brand.

But Brooklyn remains the spiritual home of the handcrafted (and often eye-wateringly expensive). Alongside knives and gin, the borough lends its name to a host of businesses including (inevitably) bikes and clothing, as well as the longer-established, now revived brewery. And, of course, the son of very famous parents.

No doubt a new neighbourhood will eventually emerge to take its place (and most of those who set the original scene have already departed for cheaper areas) but, for now, brand Brooklyn is being exploited to the max: however you spell it.

 

 

CR in Print

Thanks for reading the CR website, but if you are not also getting the printed magazine, we think you’re missing out. This month’s issue has a superb feature on the Sainsbury’s Own Label packaging of the 60s and 70s, a profile of new Japanese creative supergroup Party and our pick of this year’s top graduates. Read all about it here.

If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

 

Prize covers on the Man Booker shortlist

Two first time novelists and titles from four independent publishers make up this year’s Man Booker Prize shortlist and, encouragingly, in a sign that printed book design continues to up its game, the covers are in rude health too…

Take Suzanne Dean’s design for The Sense of an Ending by Julian Barnes (published by Jonathan Cape/Random House). Despite the presence of new life in the floating seeds, the cover bleeds off towards a foreboding darkness with the ends of the book’s pages blackened, too.

A striking graphic approach from Dan Stiles works well on the cover for The Sisters Brothers by Patrick De Witt (published by Granta and Ecco/Harper Collins). The book design is by Suet Yee Chong at Ecco.

The placing of the title is what makes the hardback cover of Snowdrops by AD Miller (published by Atlantic Books) that little bit more interesting. The title is Russian slang for a corpse that is buried in the snow (revealing itself as it thaws), so the blood red type seems to suggest a supine position, heightened by the image of the trees as seen from the point of view of a body lying on the ground.

Perhaps the most conservative cover on the shortlist, Peter Dyer’s design for Half Blood Blues by Esi Edugyan (published by Serpent’s Tail) employs an elegant typeface for the book’s title.

Pigeon English by Stephen Kelman (published by Bloomsbury) has a cover by Holly Macdonald, who makes good use of negative space to evoke the outline of a young boy and, also, some pigeons.

Finally, and possibly our favourite on the list, is the first edition cover for Jamrach’s Menagerie by Carol Birch (published by Canongate). Thanks to Tom Gauld in the comments below who let us know that it’s the work of the excellent John Gray at Gray318. More of his covers at bookcoverarchive.com.

So while the Booker shortlist once again provides an interesting snapshot of the contemporary fiction market, the strength of the cover design in this year’s crop is surely also something worth celebrating.

The winner of the Man Booker prize 2011 will be announced on October 18. Read more about the shortlist, here.

 

CR in Print

Thanks for reading the CR website, but if you are not also getting the printed magazine, we think you’re missing out. This month’s issue has a superb feature on the Sainsbury’s Own Label packaging of the 60s and 70s, a profile of new Japanese creative supergroup Party and our pick of this year’s top graduates. Read all about it here.

If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

 

Urbanized posters by Build

Gary Hustwit’s new documentary film Urbanized, about the design of cities, premiered last week at the Toronto International Film Festival. Build has designed the identity for the film, the official poster and a set of four limited-edition prints…

Urbanized is the third film in Hustwit’s design film trilogy, following the hugely popular Helvetica and Objectified. It will screen in the UK in October: visit the website at urbanizedfilm.com for more details. Build has designed a two-sided poster for the film, shown above. The limited-edition silkscreen prints (below) are A2 in size and printed on super-bright Colorplan stock in a numbered edition of 100. They retail at $125 each (or $400 for all four) and can be ordered via the Urbanized site.

CR in Print

Thanks for reading the CR website, but if you are not also getting the printed magazine, we think you’re missing out. This month’s issue has a superb feature on the Sainsbury’s Own Label packaging of the 60s and 70s, a profile of new Japanese creative supergroup Party and our pick of this year’s top graduates. Read all about it here.

If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

More Mind-Blowing Stencils: Dave Soukup Is In the Moment

DavidSoukup-IntheMoment-6.jpg

Hopefully one month has been enough time for our stencil-inclined readership to have pieced their minds back together, because we’ve just come across yet another stencil artist who might just detonate it yet again.

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Where Logan Hicks worked with traditional landscapes, executed in a few moody colors, Chicago-based artist David Soukup sticks to more traditional poster-influenced subject matter.

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The collage-y results are graphically captivating, not least for the meticulous methodology behind each piece.

Having built a reputation as one of the most detailed stencil artists in the country, Soukup is no stranger to finger-numbing precision and perfection. At first glance, his work may lead you to believe it’s is a digital transfer or electronic print-out, but on closer inspection, you’ll see what makes David’s work so special: the details. Each painting is produced by a precise layering of stencils, meticulously cut by hand, and applied using layers of spray paint.

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The new work will be exhibited at Phone Booth Gallery in Long Beach, California, in a solo show called In the Moment:

Soukup’s new body of work shows a slight change in direction for the artist, who has elevated his paintings to include geometric abstraction, texture, and motion. Consistently raising the bar on what can be done with the stencil medium, Soukup focuses on relational composition while exploring positive and negative space. Working with reclaimed wood, found imagery, photography, and a variety of painting techniques Soukup explores individual relationships between mediums and elements interconnected in the moment.

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Much more detail & process after the jump…

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Dutch Design Awards: the finalists

The finalists for the Dutch Design Awards have been announced. This year, for the first time, the public can vote on their favourite from the 45 pieces chosen.

We’ve picked out a selection from the Communications categories for this post, including the set of stamps above created by photographers Niels Schumm and Anuschka Blommers with Experimental Jetset.

 

Roger Wieland‘s lovely film for Moleskine (one of a series)

 

This poster from Hansje van Halem for Schrank8, the gallery that he has been running in his living room for the past year

 

Michiel Schuurman‘s posters for the Matter of Monument, “an exhibition about the relationship of an international city such as Amsterdam and the preserving of her (architectural) history”.

 

Floor Wesseling‘s Blood In Blood Out project which “to see what happens when you combine shirts of rival soccer teams into one new shirt. These combinations tell tales about historic events in Europe and show relationships between countries, parties, cultures and brotherhood. Combining cultural symbols and elements refers to the search for an own identity and national pride as well.” Shown here is the Brazil shirt mixed with that of its ex-colonial overlord Portugal.

 

Lernert & Sander’s music video for Elektrotechnique by De Jeugd Van Tegenwoordig featuring “a series of domestic sex machines”.

 

LBi‘s website for the Anne Frank House

 

And Christian Borstlap‘s video for Shawn Lee

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In previous years, the jury preselected a shortlist six finalists for the public award, now visitors to the DDA website can choose their favourite from all 45 finalists. Voting can be done via the Facebook ‘like’ button or via a ballot paper and closes on October 29.

Introducing, albeit a limited amount of, public voting to a creative awards is an interesting step. Certainly it’s something that has been suggested for the likes of D&AD in order to widen public engagement and encourage transparency as well as override any perception of jury members favouring the work of some over others. The result will be announced on October 30

Chris Labrooy: The Art of Fake Realism

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I’m rather intrigued by Chris Labrooy’s 3D graphics. Some are fantastically realistic, while others are so obviously fake—but in such a realistic manner. As 3D rendering technologies progress, they are beginning to achieve a quality best described as “too real.” Reality, similar to humanity, is perhaps best characterized by its imperfections. In contrast, Labrooy’s graphics are overly perfect.

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Regardless, Labrooy did a great series of typographical posters, spelling out architects’ names with their buildings. Icons such as Zaha Hadid, Tadao Ando, Osco Niemeyer, and Frank Gehry are included in the series.

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