Design a charity poster for Bestival

Want to design a poster for New Order? De La Soul? Stevie Wonder? Bestival, Screenadelica and CR are offering readers the chance to design a poster for one of the headline acts at Bestival 2012 which will be sold for charity at the event.

Each year Bestival and Screenadelica stage a show of screenprinted gig posters by UK and Irish illustrators and designers at the music festival (CR subscribers will have seen some of these in our December Monograph).

For this year’s festival, Screenadelica and Bestival are staging an open competition to create a poster for one of the headline acts: Stevie Wonder, New Order, The xx, Sigor Rós, Bat for Lashes, Justice, Orbital, Gallows, De La Soul, The Horrors, Roots Manuva and one more headliner still to be announced.

The winning design, as chosen by a panel of Bestival head honcho Rob da Bank, Creative Review editor Patrick Burgoyne, Bestival programme editor Sean Bidder and the good folk from Screenadelica, will be printed and sold at the festival with 100% of profits going to the Bestival Foundation.

All details are here. Deadline: June 1.

Here are some of last year’s posters by way of inspiration:

Brian Wilson poster by Lesley Barnes

 

British Sea Power by Telegramme

Eagles of Death Metal by Gav Beattie

Lex Complex Vol. 1 vinyl

True to form, Lex Records is releasing a lovingly designed record of exclusive tracks to celebrate its 10th birthday next week. The release takes the form of a picture disc housed in a screenprinted plastic sleeve…

Actually, the label turned 10 years old in autumn last year and commissioned artist and filmmaker (and previous CR One To Watch) Yu Sato to create artwork for a 10th anniversary campaign that involved creating two limited edition screenprints showcasing artwork inspired, apparently by the patterning formed of geometrical lines merging and overlapping on a British ten pound note.

Sato incorporated the the design into the compilation and the result is very nice indeed:

Complex Vol. 1 is released next week on April 23 through Lex and features 10 exclusive tracks by Jel, Boom Bip, Danger Mouse & Jemini, and DOOM with Thom Yorke & Jonny Greenwood, and more.

lexrecords.com

100 Ideas That Changed Graphic Design #53

In the second of our extracts from the new Laurence King book, 100 Ideas That Changed Graphic Design, Steven Heller and Véronique Vienne look at ‘shadow play’…

#53 Shadow play

One of graphic designers’ most enduring obsessions is to 
try to escape from flat land. They would like to free images and text from the confines of the two-dimensional plane. Hungarian-born László Moholy-Nagy worked all his life 
to solve this vexing problem. Using photography and controlling light and shadows by means of lenses, mirrors and filters, he imparted a sense of depth but also movement to otherwise static graphic elements.

In 1929, for the cover of a brochure titled 14 Bauhausbücher (14 Bauhaus Books), Moholy-Nagy photographed metal type on a composing stick at various angles and collaged the prints together in such a way as to create a strange visual amalgam. Not only did the words pop up, they also defied the laws of perspective. Pairing letterforms with their distorted shadows, he realised, could transform the surface of paper into a window opening on an otherworldly realm.

Moholy-Nagy would have loved the work of American artist Ed Ruscha, whose monochromatic ‘word compositions’ are often associated with an odd play of light and shadows. Inspired by the typographical environment of Los Angeles, his paintings are a cross between film title sequences and roadside advertisements. Mighty Topic, painted in 1990, is set in blocky capital letters, while its slightly fuzzy shadow appears on the wall behind in upper- and lower-case italic. In addition, it is projected at a steep angle, an optical absurdity. Yet, strangely enough, the image does not give the impression of being erroneous. On the contrary, it comes across as a faithful rendition of the kind of visual incongruities that give so much character to the southern California landscape, its billboards, motel signs and oversized gas station marquees.

In 2004, for a poster for the Châtelet Theatre in Paris announcing a production of Richard Wagner’s Tannhäuser, Rudi Meyer created a ghostly illusion involving type and shadows. A large cutout ‘T’, seen in perspective, projects across the page a long forbidding shadow in the form of a cross. The angle of the ‘T’ and that of the cross do not match, a detail one might not consciously notice yet which contributes to the eerie impression of the composition.

Le Fou poster by Rudi Meyer rudi-meyer.com, not included in 100 Ideas

Shadow play is often used in scenography, so it is not surprising that during his seven-year tenure designing posters for the Châtelet Meyer created many such graphic illusions. His poster for Le Fou, in which bold letters cast crazy shadows on the page, makes a passing reference to 14 Bauhausbücher, with some of the words arranged on what looks like a composing stick – as they are in the Moholy-Nagy topsy-turvy photograph. The overall impression is both bizarre and wonderful.

This essay is taken from 100 Ideas That Changed Graphic Design, published by Laurence King; £19.95 and available from laurenceking.com. We will be posting one more extract from the book next week. The previous post, on The Big Book Look of the 1950s, is here.

 

CR in Print

Thanks for visiting the CR website, but if you are not also reading CR in print you’re missing out. Our April issue has a cover by Neville Brody and a fantastic ten-page feature on Fuse, Brody’s publication that did so much to foster typographic experimentation in the 90s and beyond. We also have features on charity advertising and new Pentagram partner Marina Willer. Rick Poynor reviews the Electric Information Age and Adrian Shaughnessy meets the CEO of controversial crowdsourcing site 99designs. All this plus the most beautiful train tickets you ever saw and a wonderful behind-the-scenes look at Thunderbirds in our Monograph supplement

The best way to make sure you receive CR in print every month is to subscribe – you will also save money and receive our award-winning Monograph booklet every month. You can do so here.

100 Ideas That Changed Graphic Design #76

In the first of three extracts from Steven Heller and Véronique Vienne’s new book on 100 Ideas That Changed Graphic Design, we begin with idea #76: The Big Book Look…

The latest in Laurence King’s ‘100 Ideas’ visual arts series includes 100 different concepts, techniques, tools and objects that the authors believe have helped shape the medium of graphic design. We’ll be running three extracts from 100 Ideas That Changed Graphic Design up on the CR blog over the coming days. Here’s the first…

#76 The Big Book Look

In the mid-1950s the American designer Paul Bacon defined a literary design genre known as the ‘big book look’, in which a book cover was characterised by a large title, a large author’s name and a small symbolic image. The look was conceived as a matter of commercial pragmatism in 1956 when Bacon designed the dust jacket for Compulsion by Meyer Levin, a book based on the real-life story of two young men who murdered a boy to see if they could get away with it.

The publisher wanted the jacket to evoke the case without sensationalising it. Bacon sketched out a number of ideas until he came up with the notion of positioning the rough, hand-scrawled word ‘Compulsion’ at the top of the jacket, taking up a fifth of the space. Under that, two tiny, nervously rendered figures running on the vacant expanse towards the title were printed in red. The art is reminiscent of Saul Bass’s 1955 Expressionistic film poster and titles for The Man with the Golden Arm, but was influenced by the jazz albums Bacon had designed starting in the late 1940s. The book became a huge bestseller and the jacket caught the US publishing industry’s attention. Other publishers wasted little time in contacting Bacon to design jackets for their potential bestsellers.

Bacon’s jacket oeuvre embodies the history of late twentieth-century commercial book cover design – a legacy of eclectic lettering, illustration and typography before the digital revolution. Perhaps more importantly, he made books sell. Marketers liked using an icon or a logo on a jacket rather than conventional treatments of type or literal illustration. Bacon was good at, as he put it, “finding something that would be a synthesis graphically of what the story was about”.

While he was no traditionalist, neither did he follow the Modernist notions of Paul Rand, Alvin Lustig and Leo Lionni, who imbued their covers with more subtlety. While Bacon admired these designers, their book covers were generally designed for works of criticism, analysis and 
literature with small print runs, enabling them to do virtually anything they wanted with little interference. Bacon’s more commercial orientation required that he navigate sales and advertising requirements.

Though most of Bacon’s covers were built on some conceptual idea or image, the cover for Philip Roth’s Portnoy’s Complaint (1969) was uncharacteristic. It was solely type against a yellow background, with no fancy touches, except for the swashes on capitals (with flowing or curlicue serifs) in the title and the author’s name. Asked why he avoided his signature conceptual image, Bacon said it was because of the difficulty in portraying the book’s most prominent element – masturbation.

Cover from Adrian Harrington Rare Books, not included in 100 Ideas

Ambiguity – fragmented and vague pictorial jackets with skewed type – is much more frequent in present-day book covers, which may explain why the big book look, though not precisely obsolete, is no longer a design code.

This essay is taken from 100 Ideas That Changed Graphic Design, published by Laurence King; £19.95 and available from laurenceking.com. We will be posting two more extracts from the book over the next few days.

 

 

CR in Print

Thanks for visiting the CR website, but if you are not also reading CR in print you’re missing out. Our April issue has a cover by Neville Brody and a fantastic ten-page feature on Fuse, Brody’s publication that did so much to foster typographic experimentation in the 90s and beyond. We also have features on charity advertising and new Pentagram partner Marina Willer. Rick Poynor reviews the Electric Information Age and Adrian Shaughnessy meets the CEO of controversial crowdsourcing site 99designs. All this plus the most beautiful train tickets you ever saw and a wonderful behind-the-scenes look at Thunderbirds in our Monograph supplement

The best way to make sure you receive CR in print every month is to subscribe – you will also save money and receive our award-winning Monograph booklet every month. You can do so here.

Your 2012 AIGA Medalists: Ralph Caplan, Elaine Lustig Cohen, Armin Hofmann, and Robert Vogele

Frederic Goudy had one, so did Philip Johnson and Robert Rauschenberg. The Eameses had two. Pentagram is awash in them. George Lois wears his to bed. We’re talking about AIGA Medals, the graphic design world’s highest honor. This year’s medalists are Ralph Caplan, Elaine Lustig Cohen, Armin Hofmann, and Robert Vogele. Caplan will be honored for his “discerning eye, deftness with words, and wonderful sense of humor toward defining design over half a century through writing, editing, and teaching,” while Lustig Cohen gets the nod for for her integration of “European avant garde and modernist influences into a distinctly American, mid-century manner of typographic communication.” AIGA recognizes Swiss graphic designer Hoffman, who Paul Rand once described as a shape-shifting “daredevil driver, mountain climber, teacher par excellence, and guru,” for his broad and deep influence in “teaching the power and elegance of simplicity and clarity through a timeless aesthetic, always informed by context” while the entrepreneurial Vogele is singled out for having “nurtured the creative potential of generations of Chicago designers, challenging all to think about design for the greater good.” They will be presented with their James Earle Fraser-designed medals tomorrow evening at Bright Lights.

New Career Opportunities Daily: The best jobs in media.

Vimeo Awards voting opens

The shortlists for this year’s Vimeo Awards have been announced with public voting now open. The winners of each category receive a grant of $5,000.

The Vimeo Awards apparently had 15,000 entries from 147 countries this year, according to the organisers. A judging panel will decide the winners but with input from a public vote which is open until April 30.

Categories include Motion Graphics (for which Koji Aramaki created Wave Reflection, below and still shown top), Advertising, Experimental, Animation and Music Videos.

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There will also be three honorary awards: the
 Social Change Award, for a project that has used online video for social impact; the
 Digital Maverick Award, for someone who has ‘changed the landscape of online video’; and the
 New Creator Award, given to ‘the newcomer who impressed us most during the past 18 months’.

See all the shortlisted films here

 

Cheltenham Design Festival this weekend

The inaugural Cheltenham Design Festival kicks off this weekend, with talks from Stefan Sagmeister, Simon Waterfall, Bruce Duckworth, Lucy Holmes, Jenny Coe, Sir John Sorrell, Ptolemy Mann, Stephen Bayley and the festival president, Sir John Hegarty.

The event will take place at Cheltenham’s Parabola Arts Centre from April 20 – 22. Friday begins with Bruce Duckworth of Turner Duckworth, followed by talks from the likes of Paul Priestman, Simon Waterfall and Sir John Sorrell, the latter tackling the tricky question: Is there a future for design?

Saturday begins with landscape designer Dan Pearson. Stefan Sagmeister is in conversation with CR’s Patrick Burgoyne at 11.45 (tickets just £10) and returns later in the day to talk about ‘Design and Happiness’. Patrick will also chair a session on ‘secret places, hidden design’ with Jenny Coe, Lucy Holmes, Ptolemy Mann and Nick Bell. At the end of the day Hegarty will debate ‘Who’s designing the future?’ with Kenneth Grange while Stephen Bayley looks at the lessons of the pitch.

Sunday has a session on Animation with Aardman as well as investigations into the future of air travel, car design and mobile games.

Tickets cost from just £5 to £20 per session, with most around £8. A day pass costs just £30, students £10.

For full details, visit the Festival site here

For those of you who are always complaining that design conferences are too expensive, this is an absolute bargain. Support it and they may be able to do it again next year…

The Creative Review iPad App

The Creative Review iPad app is (finally) here, with exclusive content and updates throughout each month for your viewing and reading pleasure. A free sample is available now

Yes, we know we have been going on about our iPad app for what seems like forever but it is now on sale here.

The first thing to say about it is that, unlike some other magazine iPad apps, it is not a digital version of the printed magazine. It may share some content with the printed version, but that content is presented very differently for a different device and, at least in part, a different audience. And there is a lot more content that is exclusive to the app.

 

What does it do?
We already have a print magazine and a very widely read website so when we sat down to think about an iPad app the first question was how does it fit in to what we already do and why would someone pay for an app when they can already view some content on the web for free?

The app is designed to provide content that exploits the iPad’s strengths as a medium – 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 depth, viewing and reading. Different content in a different format.

As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. So if you pay for one month’s access, in addition to the content in the app when you first download it, we will continue to update it with new stories throughout the month.

 

The app has four content sections: Hi Res, CRTV, Features and Ticker. To return to the contents page above at any time, just touch the CR button top left. Touch the section title to go to the first piece of content in that section.

Hi Res is our showcase section, taking advantage of the iPad’s superb screen to display full-bleed images and videos. In it you will find a new feature, My Life in 10 Pictures, in which high-profile practitioners such as Marian Bantjes and Stefan Sagmeister tell the story of their carer so far in 10 images. You will also find portfolios of exciting illustrators and photographers, How It Was Done features on the making of new work, extracts from new books, award-winners and more. Swipe through the images, choosing either page view or full-screen mode.

 

CRTV is our video section featuring our own filmed interview series along with our pick of short films and other moving image content from around the world. Each video is available either in streaming mode (press Play Video to view) or it can be saved to the app to watch in hi-res offline (press Save Video).

 

In Features you will find all the feature and Crit content from the current print issue of CR with, where possible, additional still and moving image content. There will also be iPad-only features added to the content during each month.

Each feature begins with a main ‘splash’ image and headline. Scroll down to read the full text and reveal additional images and videos. Double tap these to view at full-screen.

Finally, Ticker (far right column on the home page) is a constantly updated stream of selected stories from the web, keeping you up to date with the creative world. Each story opens in a browser inside the app, making it easy to return to the CR app when you are done.

 

How much?
The app costs £3.99 a month if you sign up for a rolling month-to month subscription, £4.99 for a one-off, one-month issue and £39.99 for a 12-month subscription.

After a lot of discussion, we decided to follow the same model we employed with our previous iPhone apps for the Annual and Photography Annual and make the iPad app a standalone product, ie not to bundle it in with existing print subscriptions. We know that this may disappoint some print subscribers and it’s probably the one aspect of producing the app that we debated more than any other.

One of the reasons that the app took so long to develop was Apple’s shifting policy on what it would allow publishers to do in this area. We had been looking at options including ‘bundling’ print and iPad subscriptions or offering print subscribers the iPad app at a reduced rate. However, not only do Apple disallow some of those options, they have also changed their position on this. We did not want to be in a position, again, where we developed one version of an app, only for Apple to change their policy, meaning that we would have to start all over. The safest and most reliable route, we therefore decided, was simply to sell the app through the App Store.

Our other option in relation to existing print subscribers was to give them free access to the Ipad app. This would have involved considerable extra development cost and time so we had to make a decision based on whether that time and cost would be justified by the likely number of print subscribers taking up the option and the incentive value of offering both in the future.

Our research revealed that the vast majority of print subscribers want to read the magazine in print and not on screen: very few of them currently take advantage of the fact that they can read magazine content here on the website, for example, and equally tiny numbers took up our E-CR PDF-based option in the past. Also, with CR, many print subs are taken out by companies who share a copy: you cannot do that so easily with the iPad. I’m sure there are exceptions and I know already from Twitter and emails that we have received that some are disappointed that they are not going to be given the iPad app for free, but we had to make a decision based on the bigger picture.

We were faced with delaying the app even more and pushing up our development costs still further for the benefit of quite possibly very small numbers of subscribers. And if we had done that, the pressure would have been on us to recoup those costs by increasing subscription prices, as other magazines have done, thereby asking all print subscribers to pay for something that only a minority can take advantage of.

I hope that by being so open in our decision-making on this, even those print subscribers who are disappointed that they won’t be getting the iPad app for free will understand why we have gone down this route. We’ll always listen to what our subscribers ask of us and we are not ruling out offering combined print/iPad subs in the future if there is sufficient demand.

 

Who built it and how?
Our iPad app was developed for us by Alasdair Scott and Simon O’Regan at The Brightplace. We decided not to use one of the iPad magazine platforms on the market and instead built our own CMS-based system. Because we have very limited resources here at CR, we needed a system that would allow us to deliver the maximum amount of content to readers with minimal production time. Therefore, we have gone for a very simple, template-based system which we can manage within our own team and which allows us to update the app with new content relatively quickly  throughout each month. Under Apple’s system, we are able to update once a day.

What’s next?
All publications develop over time and we are already working on additional functions for the iPad app (as well as, of course, taking in all your feedback for tweaks to this version). One of the first things we will be looking at is sharing content. The idea of sharing content is tricky for iPad apps – what exactly would you share and, given that someone has to download the app in order to access content, why would you share it? We believe we have an interesting take on that – watch this space. The current version of the app does not allow people to comment on stories. We believe that the blog is the best place for debate plus, not everyone enjoys that side of things. Those stories that we think people will want to comment on will still appear on the blog. The app offers a different experience, more about inspiration, viewing and reading, more appropriate for a device that is not always online, and more suited to those who don’t like to venture below the line into the sometimes heated world of the comments section. If there is great demand for commenting, we may look at this again. In the meantime, please let us know what additional functionality you would like to see in later versions of the app.

If you would like to give the Creative Review iPad app a try, there is a free sample issue available here.

We’re back

So sorry for the interruption in service this week. We are now back (thanks Igor)

Graffiti Zen: Abdul Rashade

abdul_pink.jpg

We’re really digging the graffiti and illustration work of Kuala Lumpur-based artist Abdul Rashade. The shapes that make up Rashade’s work are eye-catching bits of shredded fabric or bits of debris caught in mid-explosion, all mixed together with a synthesis of organic and urban colors.

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