Official 9/11 Memorial Flag

nyremembersflag.jpg

Yesterday, in anticipation of statewide “New York Remembers” events, Governor Andrew Cuomo unveiled the official 9/11 Memorial Flag, “a long-lasting symbol of our respect for those who were lost on September 11th and our resilience in the face of tragedy.”

The symbols on the flag evoke what was lost on September 11th and what still endures. The 40 yellow stars represent the fatalities from United Flight 93, which crashed in Shanksville, Pennsylvania. The five-sided figures represent the Pentagon, where 125 people died. At the center of the flag are the Twin Towers, where the greatest loss of life occurred that day.

Sunday, of course, marks the tenth anniversary of the day that has come to define the current era of U.S. politics. The flag will be flown at the State Capitol in Albany and the memorial at the World Trade Center site in Lower Manhattan.

(more…)


Camper’s boat, designed by Farrow

Yesterday, the boat that shoe brand Camper will sail around the world in the Volvo Ocean Race 2011-2012, sailed into London, showcasing in the process, its livery and sails which have been designed by Farrow here in London. Here is a look at the boat and a also an insight into Farrow’s approach to the project…

“The project came about because we received an email, out of the blue from Camper just over a year ago,” says Mark Farrow of the project. “It was obviously exciting, but they were asking three different design agencies to come up with ideas. We were instantly like, well, we don’t pitch, it’s just not something that we do. They then said – and I suppose it’s an obvious line – ‘don’t think of it as a pitch but more like Camper trying to find a kindred spirit to work with – and we’ll pay you for your ideas’.

“So it’s one of those where it’s a great brand you’d like to work with,” Farrow continues, “firstly because its shops are really good looking and the people they collaborate with are great – and secondly, it’s obviously a really great project. It’s a really cool thing to do, it’s a dream job. So we put aside a week where we’d do nothing but come up with lots of ideas about how we could approach this, and then flew to Camper’s HQ in Majorca to present the ideas.”

The image above shows some of Farrow’s early ideas, playing with simple, bold graphics, from minimal use of colour through to patterns and yes, even a playful jolly roger skull and crossbones. Note the blue iteration of the Camper logo, created when Farrow realised that the logo shape could be inverted and repeated side by side to create a wave-like shape.

“One of the things they were really good about with regard to the first presentation,” says Farrow’s Debra Scacco, “is that they said that we shouldn’t concern ourselves with anything other than what we think looks good. So it was a bit like forget the technical restrictions, they simply wanted us to have fun with it and do what we thought would look amzing, in order to see what emerged. That was a really great starting point for us to have no restrictions or inhibitions.”

“They liked a lot of our ideas,” says Farrow, “but many of them wouldn’t have worked in reality. More than anything with this approach we were able to say, we’re not  suggesting you should have a boat with a skull and crossbones on it, what we’re saying is this is the way we think, this is how we could potentially have fun with this.”

“At this first presentation stage, we were treating the project very much with our idea of yachting, which was a nice day out on the sea,” adds Farrow’s Gary Stillwell. “We hadn’t got to grips with the technicalities of it or got to grips with what this race actually involves. So it was only after this that we really understood that it was an extreme sport. So an initial design with coloured beach balls adorning the sails looks pretty funny in retrospect!”

“We did have a bit of Eureka moment when we realised that Camper’s logo is actually shaped like a sail,” says Farrow. “And if you turn it upside down, make it blue and repeat it horizontally, you get waves. Air and water, everything we need, are built into the logo without even doing anything. We even suggested to Camper that they created another version of the logo which was upside down and blue, the sailing version of the Camper logo if you like. We got really excited about this but they weren’t as enthusiastic.”

“But we started showing them some iterations of the idea,”  Farrow continues. “The idea had allowed us to do some nice stuff and we were using a lot of blue at this point in our design ideas. Then Camper pointed out that, well, it’s going to disappear when it’s on the sea and we had to concede that, yeah, it probably will. Whereas a red boat won’t disappear on the sea, quite the opposite.


We’d been thinking about making a reference to dazzle ships, breaking up the outline of the boat. Of course the crew and the guys at Camper couldn’t understand why we’d want to make the boat look any less sleek and beautiful than it does normally. But we made this repeat pattern from the logo (above) that was kind of jagged but flowing at the same time and that’s really the starting point to where we ended up.”

Above and below: The guys at Farrow made numerous paper models to work out how their hull designs would wrap around the boat

The sails are made out of woven kevlar (below) and the designs are actually applied either by hand dying or painting. Of course the more paint applied to a sail, the heavier it is, so that was a crucial factor when creating the final sail designs.

Knowing that there are a host of different sails which are used according to prevalent weather conditions, Farrow created a different design for each one. A particular favourite is the one in which the repeat pattern that features on another sail looks as if it is being blown away:

Here are the various sail designs:


Mainsail and Jib 1


Mainsail and Jib 2


Mainsail and Frac 0


Reefed Mainsail and Jib 4


Mainsail and MH0


Mainsail, Jib 1 and A2

To keep up to date with the Camper boat’s story, visit its Facebook page

farrowdesign.com

 

Related content

London based studio GBH designed the livery for Puma’s entry to the Volvo Ocean Race. Read our post about that 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.

 

The eyes still have it

Stephen King poster by Nick Tassone, 2010 (left); A Tolmer, from Mise En Page: the theory and practice of layout, UK, 1932 (right)

The Redstone Book of the Eye is a compendium of fascinating imagery that celebrates the act (and art) of seeing…

The Book of the Eye is another curatorial feat from the Redstone Press founding editor/designer, Julian Rothenstein. As with the diaries, alphabets and collections of Mexicana that have made his small press relatively famous, Rothenstein’s, um, eye has been honing in on evermore enticing imagery for this latest collection.

L’Oeil magazine cover, 1955

Themed around images that trick, delight, cause surprise, or celebrate the act of ‘seeing’, the Book of the Eye plunders the worlds of music, design, art, photography and science.

“In addition to people and animals; potatoes, storms, needles and robots also have eyes,” writes David Shrigley in his introduction, and while the full gamut of his reference points aren’t necessarily included, the book takes the reader on a tour of eye charts, street photography, pictograms and illustration.

Many of the most interesting images contain a kind of visual epiphany – that moment when the penny drops.

Cover for Match magazine by Salvador Dali, 1939

Anatoly Belsky, film poster for The Private Life of Peter Vinograd, directed by Alexander Macheret, USSR, 1934

Joan Colom, Untitled, Spain, c.1965

The Redstone Book of the Eye is published by Redstone Press/Square Peg (Random House); £20. See theredstoneshop.com, rbooks.co.uk.

 

 

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.

 

A new identity for Zaha Hadid Architects

Greenspace‘s new identity, typeface and website for Zaha Hadid Architects is inspired by the firm’s use of computer scripts and pattern generation in its pioneering work…

ZHA is well known for its avant-garde approach to building design, which often incorporates computer generated patterning programs.

Design studio and branding strategists Greenspace used some of these technical aspects to ZHA’s working process (including their use of parametric theory) into a new identity for the practice, in which a series of graphic shapes, structures and patterns are applied across the company’s communications material.

“We set out to create a coherent brand and website for ZHA, one that would strengthen and reinforce the story of such a visionary practice,” says Adrian Caddy, founder and CEO of Greenspace. “We interviewed 30 of their senior associates and designers and asked them what they thought about their company. This gave us a good basis on which we could base ideas and build our approach.”

Greenspace developed the identity and the bespoke typeface, Zaha Hadid Sans, in collaboration with Hadid’s senior partner, Patrik Schumacher, and designer Miles Newlyn. “We deliberately didn’t want to create a brand identity that would be a pastiche of any of the ZHA created works,” adds Caddy. “We wanted the work to speak for itself, not be over-powered by its brand.”

As part of the redesign, a new HTML5 website at zaha-hadid.com was also created which serves as a vast digital archive of ZHA work, both built and conceptual.

Greenspace design team: Paul Blackburn, Lee Deverill, James Taylor, Stephanie Wilkinson, Adrian Caddy. ZHA project team: Patrik Schumacher, Lars Teichmann, Bidisha Sinha. Photographic portraits: Alex Telfer. Website Production: Scott David.

 

 

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.

 

The signs and symbols of Owusu-Ankomah

Owusu-Ankomah, Thinking the Microcron No.1, 2011, acrylic on canvas, 120 X 140 cm. Photo by Joachim Fliegner. Image Courtesy October Gallery London

Ghanaian artist Owusu-Ankomah will be showing a series of new paintings, laden with mysterious symbols and signs, at the October Gallery in London from September 15…

Owusu-Ankomah, Looking Back into the Future, 2008, acrylic on canvas, 150 x 200cm

Based in Bremen in Germany, Owusu-Ankomah’s art often depicts large scale human figures and for this new collection, Microcron – Kusum (Secret Signs – Hidden Meanings), each is surrounded and camouflaged by various symbolic sets and signs.

Owusu-Ankomah, Microcron – Kusum No.4, 2011, acrylic on canvas, 135 X 175 cm. Photo Joachim Fliegner. Image Courtesy October Gallery London

According to the gallery, for the new paintings Owusu-Ankomah has added well-known logos and Chinese calligraphy, as well as “visual signs of his own invention to the customary lexicon of ‘adinkra’ symbols, which each represent a particular concept used by the Akan-speaking peoples of Ghana. In the same Akan language, ‘kusum’, refers to sacred sites involved in the secret performances of mystery rites.”

The exhibition is on at the October Gallery, 24 Old Gloucester Street, London WC1N 3AL until October 29. More at octobergallery.co.uk.

Posters for Tinker Tailor Soldier Spy by Paul Smith

Sir Paul Smith has designed a series of four silk-screen posters to celebrate new movie Tinker Tailor Soldier Spy, released later this month. The posters (which come in editions of 50 and are signed by Smith) will be sold for £100 each, with all profits going to Maggie’s Cancer Caring Centres.

Smith collaborated with film’s director, Tomas Alfredson, in the early development stages of the movie, offering his insights on 1970s London. He advised on the mood, colour and photographic approach to take.

Tinker Tailor Soldier Spy is released in the UK and Ireland on September 16: a trailer for it can be viewed here. Smith’s prints will be on sale at Paul Smith shops from September 13.

 

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.

AirMiles says adios, returns as Avios

Interbrand has rebranded the AirMiles travel rewards programme Avios: shrewd move or another Consignia?

As our sister titles Design Week and Marketing Week have reported, the overhaul is due to the merger of owner British Airways with Iberia to form International Airlines Group and the need to create a common points currency across all territories. The brand is set to launch fully on November 16 with an ad campaign by Richard Flintham’s 101.

For now, we only have the mark and a holding page on the brand’s website to go on as far as visuals are concerned so it would be wrong to draw too many conclusions. Speaking to Design Week, Chris Davenport, head of verbal identity at Interbrand, said that “We wanted to create something that felt like it had value and was collectible. There is definitely a jewel-like quality to the identity and also a dynamism, with the angle suggesting take-off.”

Thanks to some enthusiastic Photoshop shading the plectrum-shaped mark does suggest some kind of token, albeit of a more plasticky nature than Davenport’s hoped-for “jewel-like quality”. As for it suggesting “take-off” that same italicized type trick has been employed in the service of all manner of corporate goals, from innovation to forward thinking to speed.

So far so standard big branding consultancy shiny mark solution. Without further information or examples of how the identity will be employed, let’s leave aside the visual and concentrate on that name: Avios.

Davenport told DW that, “The client wanted an identity that felt international and also something that could operates as both a programme name and a currency name. We generated more than 1000 names in the process. Avios is reasonably abstract but everyone has an aviation association with it. It’s also very distinctive in the marketplace.”

A cursory bit of Googling reveals that Avios is also the Applied Voice Input/Output Society and a home cinema supplier as well as the Association of Visually Impaired Office Staff. So not even a made-up word can guarantee you a unique brandname.

The nadir of corporate renaming is, of course, Consignia, the new name for the Post Office and its associated businesses introduced in 2001 and withdrawn just a year later. Its launch provoked howls of protest but reading a 2002 BBC interview with Keith Wells of Dragon Brands which came up with the name, it all seems quite logical.

This was a business that was being repackaged as a PLC and which was operating internationally. It had three existing brands – Parcelforce, Post Office and Royal Mail. As Wells explained, “Post Office – that was too generic. Lots of other countries had their own post offices, so it would have been a difficult name to protect abroad. Royal Mail – that has problems when operating in countries which have their own royal family, or have chopped the heads off their royals.”

So they had to come up with something new. Why Consignia? “It’s got consign in it. It’s got a link with insignia, so there is this kind of royalty-ish thing in the back of one’s mind. And there’s this lovely dictionary definition of consign which is ‘to entrust to the care of’. That goes right back to sustaining trust, which was very, very important.”

You can just imagine the nodding heads in the meeting. It all made perfect sense – so long as you had sat through all the presentations, realised why the alternatives didn’t work and knew where the business wanted to be headed.

But if you hadn’t been in the meetings and were just reading it cold it came across as meaningless trendy bollocks (a technical term).

All kinds of businesses face the same issues as Consignia – moving away from what they used to do/make, operating globally, dealing with a merger or other re-organisation. Then add in the fact that thousands of real names are already taken (just try buying a domain name and see what I mean) and the descent into neologic nightmare begins. A new name isn’t always necessary though. Ironically, one of the most famous instances of a company sticking with its original name despite fundamentally changing what it does can be found in the marketing industry itself: Wire and Plastic Products, now better known as WPP.

Not all made-up names have have been as badly received as Consignia. Aviva, despite initial opposition, now seems to have bedded in, as does Diageo. In a Guardian piece following the withdrawal of Consignia Wells made the point that if introduced today an oil company named Shell may well be ridiculed, but surely that misses the point. It’s the replacement of a well-known and logical company name with something that smacks of marketing fluff that people find objectionable, not the names themselves: no-one minds Google or Orange as a company name but they might if they’d previously had longstanding relationships with companies known as Global Search Engine or The Mobile Phone Company.

‘We hope that it will become naturalised into speech when people are collecting it as points,’ Davenport said of the Avios name. I don’t mind uttering the word ‘AirMiles’ but ‘Avios’? It’ll take some getting used to.

 

 

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.

 

CR Placement Survey

We’re conducting a major survey on the placement system within design studios and advertising agencies and we need your help. Please let us know how you organise internships at your company

In March 2004 CR conducted a survey into placements at design studios and advertising agencies. We wanted to provide a useful guide to anyone looking for a placement as well as to create a resource for both applicants seeking placements and companies providing them.

Our March 2004 cover, designed by Browns intern Mark Errington


We’re revisiting that topic for a future issue and would like your help in compiling an updated placement guide. Please answer the following questions in the comments section below.

We will compile the results for a future issue of CR and in order to create an online Placement Guide.

 

1. Company name

2. Do you take placement students?

3. How many each year and at what times?

4. In the past year, which colleges have placement students come from?

5. How long do placements last?

6. Do you pay placement students? How much?

7. How are they organised? (Is there a formal programme or is it ad hoc? Are they assigned specific tasks? Are they assigned a mentor? Is there a review process at the end of their stay?)

8. Describe what a placement student would typically be asked to do.

9. What information should be included when applying for a placement with you?

10. Who is in charge of placements? Please include contact email. (If you are worried about being bombarded with CVs, please leave this blank for now and we will contact you again before publication)

 

 

There are a lot of wider issues regarding the placement system which we would also like readers’ opinions on. They will be dealt with in a separate upcoming post.

Many thanks for your help

 

 

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.

 

Turner Duckworth gives Diet Coke new look

Following its multi-award-winning repackaging of Coca-Cola, Turner Duckworth has created a new look for Diet Coke based on a cropped version of the brand’s logo

The new packaging, which Coke says is a ‘limited edition’ (for now at least) uses a graphic that is basically a crop of the logo wrapped around the can – full versions are also applied just in case shoppers were unable to identify the brand. Put two of the cans together and the word ‘OK’ is (sort of) spelled out.

Here’s how the new look will work on multipacks

and in bottle form

The design world was split on Turner Duckworth’s previous Coke work (selection below) which involved stripping away a lot of the extraneous clutter that has come to feature on most soft drink cans. Although the work won just about every major award going following its launch in 2008, some designers thought it too ‘easy’ or obvious a solution – perhaps ignoring how difficult it must be to get big FMCG brands to just leave well alone for once.

According to AdWeek Coke is saying that “this new concept will only be around for a short time.” We shall see.

 

RELATED CONTENT

See our post on Coke branding from another era – the making of the Piccadilly Circus neon Coke sign here
Check out our post on Turner Duckworth’s Summer 09 Coke cans here

You can read all about it in our September issue, which also features of pick of this year’s top graduates plus a profile on new Japanese creative supergroup Party and much more.

 

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.

 

Just My Type: the movie

Simon Garfield’s hugely popular book on type and typography Just My Type is soon to be published in the US, an event that is being promoted via a rather nice trailer from Pentagram

The US version will have a forward by book designer Chip Kidd and is releasd on September 1. The trailer was created by Naresh Ramchandani of Pentagram London and Michael Bierut of the firm’s New York office

 

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.