Directed by French designers Laura Sicouri and Kadavre Exquis, LSD ABC is a strange retro-fuelled trip through the alphabet…
Selected for OneCloudFest, Mobile SIFF and CineFringe 2013, the short digital animation also includes a soundtrack composed by Kadavre Exquis, available from the Enfance label.
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
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Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
Sagmeister & Walsh’s film Now is Better won a Yellow Pencil for Typography for Design at this year’s D&AD Awards, but only after it had first been rejected by the organisers for being art rather than design
To many, Stefan Sagmeister’s work has often blurred the distinction between art and design. This ambiguity was the cause of concern at the D&AD Awards this week. Jurors in the Craft for Design category had given the film, which was originally commissioned by the Institute of Contemporary Art in Philadelphia as part of Sagmeister & Walsh’s Happy Show, a Yellow Pencil.
However, D&AD management subsequently declared the film to be ineligible as, they argued, it fell foul of their terms and conditions by which entries must be “a work of advertising or design, produced in response to a genuine brief composed in the ordinary course of a legal entity’s activities for the purpose of seeking an advertising or design solution” and “have been made available to the public through any medium which is legally permitted in a way that has been approved by the entity or person receiving the benefit of the advertising or design (the client)”. D&AD, CR understands, further argued that the distinction between art and design partially rested on whether the work was seeking an ‘outcome’ of some sort, usually commercial in nature.
Sagmeister & Walsh, however, argued that the film was created in response to a design brief from the ICA and was part of the design of the exhibition (above, image: Aaron Igler/Greenhouse Media). Furthermore, Sagmeister said “Our piece Now is Better IS seeking (and) achieving ‘an outcome of some sort’. I received an SMS from an 16 year old boy who, after seeing Now is Better and the Happy Show, found the guts in himself to ask out and ultimately kiss the girl he had a crush on for a long time. It was his first kiss. I’d say that’s a behavioural change and an outcome worth bragging about. Preferable to a sale.”
“I myself only mildly care about a wooden pencil,” Sagmeister told CR, “but I do care when one of the foremost design organisations in the world thinks that what we do in our design studio is not design. Even though the exhibition in question took place in a Center for Contemporary Art, it was clearly designed and labelled as a design exhibit.”
After some back and forth, the work was reinstated, although not before CR’s D&AD Awards supplement, produced to coincide with the event, had gone to press.
D&AD CEO Tim Lindsay acknowledged that the work highlighted some ambiguity in the Awards’ terms: “In order to be eligible, design or advertising work entered into D&AD must have been created in response to a client brief and have been made available to the public. Because Now is Better was a gallery commission, it falls into a grey area but is actually eligible according to the current criteria,” he told CR. “It was entered into a craft category and was felt by the highly esteemed jury to be an outstanding piece of typography, so an excellent piece of work has rightly received its just reward.”
Disputes of this nature are surely only going to get more commonplace. Gordon Young and Why Not Associates’ Comedy Carpet, for example, missed out at D&AD last year. We don’t know why that was, but we do know that it won at other ‘design’ shows, including CR’s Annual. Despite this, Gordon Young is adamant that the Comedy Carpet be referred to as a work of art.
The difficulty seems to be when work crosses over from being the design of an exhibition or installation into being part of the content of the exhibition itself. A tricky line to draw and one that evidently caused a good deal of debate at D&AD this year.
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
The finest work from Ravensbourne’s class of 2013 was on display this week at the college’s Greenwich Peninsula campus and included some impressive graphic design, motion graphics and digital photography projects.
Work from Ravensbourne’s 26 graphic design graduates included experimental typography, striking infographics and innovative apps.
The most unusual product on display was Soofiya Chaudry’s ‘A Book for Two’ (below) – a book in two halves that can’t be read alone. Each half contains only a selection of words from each page, and some sections (indicated in green) must be read together. “We share almost everything we do today online and on social media, but reading a book is still a solitary experience. A Book for Two makes it a social activity,” Chaudry explained.
Alazne Ceberio Scobie also experimented with editorial design and created a fashion newspaper that uses clever layering instead of glossy textures to create visual impact. With strong type and photography, the paper included some lovely touches such as a sheer insert for an accessories page and black and white shots layered over colour images (below).
Calum Hale and Felix Mooneeram’s portfolios included a response to a brief set by the International Society of Typographic Designers exploring regional dialects.
Hale’s book (above) includes typographical representations of Scottish accents – Glasgow is represented by jagged type while ‘Ah-berdeen’ has a softer, more rounded look – while Mooneeram’s (below) explores the Industrial Revolution and manufacturing industry’s influence on Manchester accents using greyboard, industrial type and metallic ink, and received an ISTD commendation.
Hale has also created a striking infographic highlighting US gun crime statistics in a design that references the stars and stripes of the American flag. “The star for each state is also designed to look like a bullet hole – I think it could work well as a billboard campaign,” he said.
Each of the graphic design students at Ravensbourne are encouraged to experiment with digital apps and creative coding as well as typography and print design. Liam D’Arcy’s zombie-themed fitness app (below) featured some great illustrations, and Trevor Morris (creative director of this year’s Degree Show) has been working on a reading app for children with learning difficulties and visual impairments which allows users to select colour combinations, fonts and type sizes to suit their needs.
James Greenaway’s BBC Mobius app (below), designed in response to a D&AD student brief to make BBC’s online service feel more alive, allows users to watch and interact with live content and his sleek UI has earned him a yellow pencil nomination.
In response to another D&AD brief – this time to design an advertising campaign for Marmite – Antony Victor targeted 21 to 30 year-old professionals who may have grown out of the savoury spread by emphasising its vitamin B1 content, which is known to reduce stress. In a series of posters (below) highlighting stressful situations (such as running out of fuel, trains being delayed or over sleeping), he uses the tagline, “It’s OK, It’s a Marmite Day”.
Ravensbourne’s BA Digital Photography graduates had also produced some lovely work, including Andrew Morgan’s landscape and portrait shots capturing ‘small town Texas’ (below) and Irene Tonnessen’s promotional shoot for musician Axel Kacoutie’s second EP, New Type (above). You can find a selectio of work from all 12 students on their collective website, The Dozen.
Stand out showreels from the motion graphics graduates included Jacques Parys and Mateusz Napieralski’s. Parys’s portfolio (below) includes some clever infographics visualising Facebook user data and demographics, an excellent series of promotional animations for BBC Radio 4 programme in our time and an animation calling for students to take over website It’s Nice That for a day, which you can watch the making of on his site.
Napieralski’s work (below) includes inofgraphics explaining how Twitter works, a title sequence for Royal Shakespeare Company production I Cinna the Poet, an animated book promo, Type in Motion, and one for Sky Arts using wooden shapes, acrylic paint and motors. He’s also produced some impressive posters for ciruses and theatre productions which you can view on his website.
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
The August issue of CR is going to be a Summer School special. We want to look at all the ways in which readers sharpen their creative skills via workshops or similar, or find inspiration in taking part in creative activities outside of their day-to-day roles. So, what do you do?
We want to know what you do to inspire and invigorate yourselves and the staff at your studios and agencies. Do you bring in external speakers for example? Do you take any craft-based workshops, such as paper-making or screenprinting?
We’re also looking for people who run workshops or courses for creatives – anyone who goes into agencies or studios or who runs workshops and courses themselves, whether they are on more ‘serious’ subjects like art direction or coding or more esoteric, fun activities such as toy-making, building a pinhole camera or learning calligraphy.
And, of course, D&AD runs an extensive programme of courses under its Workout scheme
If you’ve been on anything like this, anywhere in the world, or if you run such courses yourself, please let us know in the comments below. Please also let us know about anything you do internally at your studio or agency to keep yourselves inspired and energised
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
Subscribe to Creative Review before midnight GMT on Sunday June 16 and you will receive a free Uniqlo T-shirt designed exclusively for CR by Anthony Burrill
Just go to our Shopify page here and the shirt will be automatically added to your order when you buy a subscription
Earlier this year, Creative Review teamed up with Uniqlo and 12 more magazines and journals around the world in the UT Creative Journal Direction project. Each magazine commissioned a local designer or artist to create a T-shirt for the range which went on sale in Uniqlo worldwide.
Each participating magazine (including Étapes in France, Surface in New York, Design in Korea and Look At Me in Moscow) was asked to submit half a dozen proposed designs (see them all here). They were not allowed to be overtly self-promotional (ie no logos) and should feature the work of a local designer. We submitted various ideas, but +81 and Uniqlo chose Anthony Burrill’s reworked version of the image which he created for our April 2010 redesign issue.
Anyone taking out or renewing a CR subscription (including those taking advantage of our student offer or any other offers) before midnight GMT on Sunday June 16 will receive one of the shirts for free. Just go to our Shopify page here and the shirt will be automatically added to your order when you buy a subscription
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
Design agency Elmwood has created a sleek new identity for football news and fixtures website Goal.
The new logo (above) features the brand name in bold white type inside goal posts, with a TM symbol in the top right corner that looks like a football. The .com used in the old logo (below) has been dropped, as has the tagline ‘Score to live’.
The Goal website has also been re-designed – the red, blue, black and white colour scheme has been replaced with navy, white, green and grey and the new layout is cleaner and less cluttered. The new look launched in the UK yesterday and will be rolled out across Goal’s 36 international sites this month.
The re-brand is part of a plan to enhance Goal’s mobile and digital offerings ahead of the 2014 World Cup and re-define it as a multi-platform digital brand. Goal’s mobile app, widgets and social media will be given a short-term makeover and will eventually be re-designed to match the new site.
Elmwood has also created a book and short film to communicate the brand’s new vision and values to Goal’s 500 editorial staff around the world. The book is designed to promote editorial consistency and includes infographics and brand ‘red cards’ (below).
“We started by creating a strong brand blueprint for Goal and defining exactly what it stands for – which is being a definitive, authoritative source of football news,” says Simon Morrow, a senior designer at Elmwood’s Leeds office who worked on the project.
“For the website, we wanted to create a look that would be timeless and would work in every territory, so we tried to keep things simple and understated,” he adds. Keen to avoid team associations, Elmwood opted for neutral but vibrant colours.
“People are passionate about football and bold primary colours have strong club ties. We had to do a lot of research into team colours and avoid any that were too bright or too closely linked to a particular team. We liked the idea of using green, but wanted to avoid using a cliched ‘grass green’, so chose an emerald shade instead,” he explains.
Designing a logo that would be instantly recognisable in multiple territories was also a challenge, which is why Elmwood opted for a striking visual symbol.
“Goal is a universal term but as it’s spelled and pronounced differently around the world, we needed something that would work in any language. We spent a lot of time looking at iconic logos – such as Target’s and Apple’s – and decided we had to create a similarly intuitive visual symbol,” he says.
It’s a strong identity and a major improvement on Goal’s old look. By keeping design minimal and choosing colours wisely, Elmwood has created an editorial site that’s enjoyable to read and a distinctive brand identity in a competitive market.
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
McCann Erickson Melbourne’s Dumb Ways to Die and 4Creative’s Meet the Superhumans were the big winners at this year’s D&AD Awards, with Black Pencils also going to Gov.uk and Thomas Heatherwick’s Olympics Cauldron
Heatherwick’s magical Olympic Cauldron (above) won a Black Pencil in the Spatial Design: Installations category.
The 4Creative Meet The Superhumans spot, directed by Tom Tagholm, won Black in TV & Cinema Communications: TV Promotions & Programme Junctions. Meet the Superhumans also picked up three Yellows, in Film Advertising Crafts: Editing for Film Advertising, Film Advertising Crafts:Direction for Film Advertising and Film Advertising Crafts: Use of Music for Film Advertising.
The other two Black Pencils this year are for public service or at least public information projects: Gov.uk and McCann Erickson Melbourne’s Dumb Ways to Die for Metro Trains.
Gov.uk won its award in the Writing for Design: Writing for Websites & Digital Design category, curiously missing out on any Pencils in the digital design area.
Dumb Ways to Die, the charming animation promoting safety on Melbourne’s railways, won Black in Integrated & Earned Media:Earned Media Campaigns (where those 46m+ YouTube views must have swayed any doubters) plus four Yellows in other categories: Outdoor Advertising: Poster Advertising Campaigns, Digital Advertising:Web Films, TV & Cinema Advertising: TV Commercials 120–240 seconds and Writing for Advertising: Writing for Film Advertising
Adding to this spirit of creativity in a good cause is the first White Pencil winner since the category (launched last year) was merged into the main awards. Congratulations to Droga5 for a project that offers a practical solution to a huge problem. Help I Want To Save a Life marks the fruition of a ten-year project begun by Droga5 creative Graham Douglas. Donor registration kits are included with packs of Help Remedies plasters. The kits require a small sample of blood, though as the donor is likely to be bleeding anyway – hence reaching for the plasters – this is a simple action. The samples are then sent to DKMS, the donor centre affiliated with the project, which will follow up upon receipt.
In the Yellow Pencils, McCann Worldgroup won in Writing For Design: Writing for Brands for its LOCOG Gamesmaker project for the 2012 Olympics volunteer programme
R/GA won in Crafts for Advertising: Sound Design & Use of Music for Digital Advertising for One Copy Song. Adam Tensta is Sweden’s biggest hip-hop artist. To promote his song Pass It On, R/GA created a Facebook app that allows only one person to listen at a time before passing it to the next person in line.
Mars Petcare: Donation Glasses from Colenso BBDO, Proximity New Zealand and FINCH won in Direct: Direct Response/TV & Cinema Advertising. NZ cinemagoers were given a choice – donate to help rescue abused dogs and receive a pair of yellow glasses, or pay nothing for the red pair. In the ad which followed, those who watched through yellow saw a happy ending
In Graphic Design: Annual Reports, Brighten the Corners won for its Zumtobel Annual Report. For the Austrian lighting company’s 2011/12 annual report, Brighten the Corners worked with artist Anish Kapoor to create a two-volume publication: one book contained the facts and figures for the year, the other was a printed version of a 1998 video piece by the artist, Wounds and Absent Objects
And there was a Yellow in Branding: Brand Expression in Print for Leo Burnett London’s Pantone Queen, a Diamond Jubilee tie-in documents the colours that the Queen wore on 60 different occasions during her 60-year reign, including the Primrose Yellow she wore at William and Kate’s wedding and the Canal Blue she chose for Ascot in 2008
The much-garlanded #CokeHands from Ogilvy & Mather Shanghai picjed up yet another award, this time a Yellow in Crafts for Advertising: Illustration for Advertising
While there was another win for Droga5 came in Film Advertising Crafts: Production Design for Film Advertising for the Kraft Moreing campaign. To advertise the Boost chocolate bar, Droga5 came up with the Boosted Inspiration Series of mock-documentaires. In this first film we meet the artist behind ‘M0reing’, a new trend/art project involving doing everything in multiples: wearing four hats, watching three TVs, walking three dogs. Scarily plausible
PARTY took a Yellow in Graphic Design: Moving Image (Graphic Design) for its Kanji City film. The City of Kyoto is represented as a series of 16 Kanji animations, each of which symbolises a tree, river, temple, gate and so on found in the city itself
In Outdoor Advertising: Poster Advertising Campaigns there was a Yellow for the Parkinson’s: Everyday campaign by The Assembly in which everyday images, such as a cup of tea or a pair of shoes, are mixed up to represent how Parkinson’s can affect messages the brain gives to the body
In Branding: Branding Schemes/Medium Business, 6D-K won Yellow for its charming icon-based identity scheme for Japanese agricultural co-operative, Minds
And Singapore-based WORK won in Branding: Brand Expression in Print for its Louis Vuitton: Yayoi Kusama Fine Book 2012, a limited edition book for Dover Street Market Ginza formed part of a wider collaboration between Louis Vuitton and Japanese artist Yayoi Kusama. The book features images and works drawn from the last 50 years of Kusama’s career.
There was also a Yellow for Sagmeister & Walsh’s Now is Better film in Craft for Design: Typography for Design (of which more later, as the work’s inclusion was the subject of some debate)
The Guardian’s modern-day retelling of the Three Little Pigs, which re-imagined the tale as a contemporary news story illustrating the multiple platforms for news-gathering and reporting utilised by the paper, won in TV & Cinema Advertising:TV Commercials 61–120 seconds. Director: Ringan Ledwidge .
In Film Advertising Crafts: Cinematography for Film Advertising, F/Nazca Saatchi & Saatchi in Brazil won for Leica Store São Paulo: Soul, teling the story of the Leica M camera and its role in 20th century history. The film also won Yellow in Film Advertising Crafts: Direction for Film Advertising
There were three Yellows for R/GA and its work on Nike+ FuelBand, in Integrated & Earned Media, Integrated Digital Advertising: Digital Solutions and Mobile Marketing: Mobile Interaction & Experience
Wieden+Kennedy New York’s Southern Comfort: Beach won in TV & Cinema Advertising: TV Commercials 41–60 seconds
While another Brazilian agency, Leo Burnett Tailor Made, won in Integrated & Earned Media: Earned Media Campaigns for My Blood is Red and Black. To combat a shortage of blood donations in Bahia, Brazil, local football club Esporte Clube Vitoria changed its red and black striped kit to white, pledging to change it back stripe by stripe until donations reached the target amount.
Film Advertising Crafts: Special Effects for Film Advertising saw a Yellow for 4Creative for the 4Seven idents it created with ManvsMachine
In Snickers’ You’re Not You When You’re Hungry Twitter campaign, five celebrities were asked to tweet out of character. Katie Price tweeted about economics and Rio Ferdinand confused his followers by talking about his new hobby of knitting before eventually revealing the gag. It won Yellow in Integrated & Earned Media: Earned Media Campaigns forAMV BBDO/AMV Pulse
Radio produced two Yellows this year. In Radio Advertising: Radio Advertising over 30 seconds, Y&R New York won for Campbell’s Soup: Poetry in which the opposing characters in a passive-aggressive mother-daughter row describe the action as it happens, with much door slamming and storming off. Listen here
And in the same category, DraftFCB New Zealand won for Prime Television: Call Girl. For a new season of TV show Secret Diary of a Call Girl, DraftFCB hired an actress to engage in ‘call girl-like’ behaviour across the road from a radio station. The watching DJs soon started commenting on what they saw
In Packaging Design: Packaging Design there was a win for Family Business for Absolut Unique. Some four million unique bottles of Absolut vodka were created by converting machines on the bottling line to spray paint randomly onto them. Each one was numbered
Film Advertising Crafts: Direction for Film Advertising saw a win for We Are Pi and director Körner Union for Human Arabesque. Introducing the TEDX Summit event, this film combined dancers and kaleidoscopic effects to create beautiful patterns from the letter x.
ONLY Jeans: The Liberation won for Uncle Grey Copenhagen in Crafts for Design: Sound Design & Use of Music for Websites & Digital Design. A combined movie, catalogue and game, produced by North Kingdom, click at any time and the film would freeze and load a still via which users could like, share or buy clothes
Volkswagen: The Bark Side, by Deutsch LA and directed by Keith Schofield won in Film Advertising Crafts: Use of Music for Film Advertising
And these Long-Tongued Animal Shoehorns for Closed by gürtlerbachmann won in Packaging Design: Packaging Design
And Johnny Hardstaff’s eerie David viral for Prometheus picked up Yellows in Film Advertising Crafts: Production Design for Film Advertising and Film Advertising Crafts: Direction for Film Advertising
In Digital Design: Websites there was a Yellow for The Martin Agency and its JFK Presidential Library & Museum: Clouds Over Cuba project. In this interactive documentary experience about the Cuban Missile Crisis, extra background material in various forms was made available at key points of the narrative.
Let’s Make Some Great Fingerprint Art by Mrion Deuchars and art directed by Angus Hyland won in Crafts for Design: Illustration for Design
R/GA picked up another Yellow Pencil, this time in Branding: Digital Brand Expression for OneNike which nified more than 70 Nike brands, plus commerce and social media functions
And Apple (it wouldn’t be D&AD without an award for Apple, would it?) won in Product Design: Consumer Product Design for the 27-inch iMac
In Film Advertising Crafts: Animation for Film Advertising, Good Books: Metamorphosis, animated by Buck for ad agency String Theory won Yellow. A Hunter S Thompson-style character goes in search of a copy of Kafka’s Metamorphosis in this film promoting Good Books, the online bookseller in aid of Oxfam
In Digital Advertising: Web Films, AlmapBBDO’s From Love to Bingo for Getty Images, a love story told in 873 stock images, won Yellow
And in Digital Design: Digital Design, Local Projects won for Cleveland Museum of Art: Gallery One. Interactive installations, including a 40-foot multi-touch Collection Wall, allow visitors to explore the permament collection at the Cleveland Museum of Art
In Art Direction: Art Direction for Poster Advertising The Monkeys/MAUD won for their Diageo: Mixionary campaign where series of cocktails are broken down graphically into their constituent parts
And the final Olympic-related project to win was Barber Osgerby’s torch, which won in Product Design: Industrial Product Design
A supplement listing all the winning work, plus details of the President’s Award, will be published with the July issue of CR, out June 19
Artist Jay Jay Burridge has created a dinosaur-themed interior for Jamie Oliver’s latest restaurant, a pop-up diner in Picadilly.
Housed in a former rib shack on Shaftesbury Avenue, Jamie’s eatery, which opened last month, is split into two venues: an upstairs diner serving gourmet comfort food including ribs, wings and shakes and hot dog bar, The Dog House, on the floor below.
Both are kitted out with neon lights and re-cycled furniture but upstairs, the space is filled with Burridge’s dinosaur prints, paintings and sculptures. A real-size Allosaurus named Lily stretches over the central stairwell, the walls are adorned with Triceratops Meat Charts and T-Rex posters; and his brightly coloured resin ‘Trainersaurus Skulls’ (below) line the bar.
Burridge has been making dinosaur art since 2010. His project, When Superstars Ruled the World, started with a display of 11 full size sculptures made out of industrial foam – including a 17-foot T-Rex drinking a cup of tea and a dinosaur rock band called The Raptors – in Beverly Hills. He’s since released prints, postcards, tea-towels and mugs, all based around the idea of placing the pre-historic giants in modern or mundane settings.
“It’s not about changing people’s perceptions – I just want to show [dinosaurs] in a different light. They’re used so much in popular culture but they haven’t ever been dulled down and made mundane,” he says in a video explaining the project (below).
Burridge’s diner artwork also includes ad-style posters that would usually feature cattle or horses (below). “A lot of diner’s walls are filled with aged artwork advertising circuses or rodeos that have long since left town, so we decided it would be fun to create fictional circuses and rodeos featuring dinosaurs,” he adds.
Oliver and Burridge have been toying with the idea of a dinosaur-themed diner since the launch of Burridge’s LA exhibition, and moved into the space in May. As well as creating installations, prints and merchandise, Burridge is responsible for the diner’s branding, signage and menu design.
“I started with the neon signs because I think they capture everything that’s lovely about traditional diners, and that gave us the relaxed look that we’ve tried to continue across the interior and even the staff uniforms [customised denim],” he says.
As the building will be demolished in two to three years, Oliver and Burridge weren’t able to strip the space and re-design it. Instead, they have re-used leftover seating, tables and furniture from Oliver’s other restaurants, including Barbecoa and Fifteen.
“The whole concept is based around re-cycling and that’s what pop-ups should be: a creative use of a temporary space. Traditional diners in America were housed in old railway carriages – they weren’t designed to be a clean, pristine space – and people went there for low cost, good value food,” he says.
Critics’ reviews have so far been mixed but Burridge and Oliver have designed a strong brand identity and a family-friendly space on a minimal budget, with Burridge’s feathered Allosaurus (carved out of foam using chef’s knives) taking centre stage.
“We wanted it to be light-hearted and humorous – everyone is fascinated with dinosaurs as a child so we hope it will make adults smile, too,” he says.
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
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While the closure of an Underground station is hardly something Londoners welcome, the way the tube has been telling passengers that Edgware Road is currently out of action may at least offer some small consolation to designers…
Down the length of the station’s Bakerloo line platforms – which can now only be viewed from a slowing tube train – seven white and red signs denote, quite unequivocally, that Edgware Road station is closed.
Above these large signs, even the familiar station name ‘frieze’ has been replaced with similar wording in bright red Johnston type.
As I’ve passed through this non-station on my way to and from work recently, I’ve come to really appreciate the way this particular closure has been communicated.
Of course, there are on-train announcements prior to reaching Edgware Road but, once there, far from clocking sections of grubby hoarding, or limp striped tape, what passengers see is some real attention to detail, coupled with an appreciation of the tube’s own graphic language.
“But … it’s just a closed station,” many will (and no doubt do) say. And that’s true – but it’s also why I like the level of design going on here. What gets me is how precisely, how effortlessly of the tube, the message is which comes across.
According to Geoff Moreton, Transport for London’s Signage and Wayfinding manager, this is the first time TfL has covered up a station name along with the roundels during a closure.
“Usually if stations are only closed for a short time – e.g. a fire alarm is sounded – then the ‘station closed’ board with the speed restriction sign is used,” he says, referring to the yellow signs which fold out from the tube maps at the ends of the platform.
“Blue is the colour normally used for the station name on the platform frieze and reversed out of the bar in the platform roundel, so it seemed logical to use red which is also a corporate colour.”
With the text in red – not blue or white – the roundels now a series of squares, things also take on a level of strangeness, too. There are no advertisements, no other posters on the platform – only the brown strip denotes a connection to the particular tube line. (The roundels on the curved wall nearest the train remain.)
And on the tube map, Edgware Road now also sports that peculiar cartographic addition which indicates a station is closed: the name of the stop is crossed-out in red. Years can go by while these stations remain on the map, X’ed-out.
Most of them return, like Mansion House or Blackfriars; while others, Aldwych and Shoreditch, closed in 1994 and 2006 respectively, never do.
While I’m sure many will welcome Edgware Road back into service in late December, I for one will miss the signs that told me it wasn’t quite ready.
*Apologies for picture quality – iPhone at 5mph
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
Over the course of this year’s degree show season, CR readers will be guest blogging reviews of shows up and down the UK (and beyond). Maisie Benson takes a look at the Falmouth Graphic Design show
This year, as always, the Falmouth University Graphic Design show boasts a plethora of brilliant and varied ideas and solutions. I’ve selected a few of my favourite pieces of work to try and capture a glimpse of the talent but I would fully recommend seeing the full show when it opens to the public on the June 15.
Chulley Evans One piece of work that really stood out to me was Chulley Evans’ poster campaign for Douwe Egberts. The brief was to advertise Douwe Egberts to a younger target market and Chulley decided to focus her campaign on the relationship between coffee lovers and their coffee. She showed this loyalty with a really simple visual play on a coffee cup handle becoming a wedding ring, this is reinforced by her choice of copy which works really nicely in both the context of vows and for coffee.
Emma Chilcott I love Emma Chilcott’s response to the D&AD brief to design the packaging for four scents from L’Artisan Parfumeur, each capturing a different emotion. Emma created L’Art de L’Emotion – a range of perfume paints that can be mixed to express your emotions using colour and scent. I think her solution is a really elegant outcome for quite an intricate, challenging brief.
Trevor Thompson Trevor Thompson’s book cover design for Raymond Chandler’s The Big Sleep also caught my eye. I think this cover achieves a good balance between engaging the viewer without giving away too much of the plot. It gradually acquires further meaning as the book is read, it hints at the idea that whilst some women in the book may prove to be key to unlocking information in the case, others may be concealing far more deadly secrets.
Anthony Goodison One really simple but effective solution was Anthony Goodison’s campaign for the Feel Good Drinks Company. Anthony took well known positive phrases and used the urban environment to engage with viewers and bring a smile to their day.
Conor Dorsett Conor Dorsett decided to tackle the JKR Juice competition to brand and package a global urban beekeeper’s products. Conor focused his branding on how urban honey is shaped by the city it is created in, this he showed very simply by forming city skylines out of honey drops. I think this outcome would be really effective on shelf as the skylines would align and create the impression of an entire city.
Sarah Knight Sarah Knight tackled the same Douwe Egberts brief as Chulley, above, but with a completely different outcome. Sarah focussed on redesigning the coffee’s packaging to bring it, quite literally, into the home. I think Sarah’s designs work really nicely as a set and would be really hard to resist!
Paul Ransom Along the same lines as being hard to resist, I really liked Paul Ransom’s Duracell redesign. Paul has created a different personality for each battery type based on their size and nature of use.
Josie Evans Josie Evans’ self-initiated brief was to create a campaign to highlight issues surrounding food wastage as well as providing cheap and easy solutions to the problem. Josie created a clever sleeve to fit over various products to show just how much is wasted out of each item bought. Each sleeve contains a recipe that could be made using the potentially wasted product, if all of the sleeves are collected they can be arranged to create a full poster with various facts and information about food wastage. I love how many different levels there are to Josie’s outcome and I think it is a really effective and practical solution.
Thanks to Maisie Benson whose work can be seen here
Pink Floyd fans may recognise the cover of our June issue. It’s the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a ‘walk-in book’ plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
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