Black Sabbath ad ’emerges’ from layers of old posters

In this ingenious ad for Black Sabbath’s comeback album, a poster for the band appears to emerge from layers of old flyposters that have been cut away to reveal all

“For some time, we had been fascinated by the almost endless layers of posters that cover our city walls,” says Morten Ingermann, CEO of McCann Copenhagen, the agency responsible. “What if we dug our way through them. Imagine what we could find?”

Universal Music gave McCann the opportunity to put their idea into practice when they commissioned a campaign to promote Black Sabbath’s new album, 13, the band’s first new record for decades.

 

“The installations were created in different sizes and shapes and we put them up at different poster sights in crowded areas of Copenhagen,” Ingermann says.

 

 

“We simulated the effect by glueing together layers of old posters and then carving out the holes by hand. It took forever but in the end we think all the hard labour paid off.”

It certainly has so far, with the posters creating a huge amount of interest online and on social media amid speculation about how they were done and by whom.

 

Credits:
Agency: McCann Copenhagen
Creative Director: Mads Ohrt
Creative team: Andreas Rasmussen, Janus Hansen
Account manager: Celina Aagaard
Client: Universal Music Denmark

 

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The July issue of Creative Review is a type special, with features on the Hamilton Wood Type Museum, the new Whitney identity and the resurgence of type-only design. Plus the Logo Lounge Trend Report, how Ideas Foundation is encouraging diversity in advertising and more

Not for Rental

Designers Timba Smits and ‘Flash’ Gordon Shaw have teamed up with Little White Lies and more than 200 artists for a film-themed exhibition in aid of Art Against Knives and MacMillan Cancer Support.

Not for Rental opens this week at East London gallery 71a and will feature work from studios and individual artists including I Love Dust, The Yok & Sheryo, Gemma Correll, Roman Klonek and Pietari Posti.

The exhibition will be accompanied by talks, screenings and workshops, including art workshops for cancer patients and knife crime victims. All of the art featured will go on sale on July 13, and all proceeds will go to AAK and Macmillan.

Smits and Shaw came up with the idea for Not for Rental just 10 weeks ago, after being personally affected by cancer and knife crime: Smits was stabbed on the way to work in September 2011 and Shaw was diagnosed with a brain tumour late last year. He is now receiving radiotherapy and chemotherapy.

“It’s been a pretty dark 18 months for us both, and movies have been a big part of our lives – Gordon was at my house when he had the seizure that led to his diagnosis,” says Smits.

“When we were on the way to the hospital to pick up his MRI scan results, he told me about an idea he had for a film-related personal project. I had a similar idea and we started talking about how we could fuse the two together. Initially, we thought it would be a good, positive distraction for us both but since then, it’s really taken off,” he adds.

Smits and Shaw approached more than 400 artists and asked each to create something inspired by a film that’s important to them. More than 200 responded, and their choices range from Anchorman to Edward Scissorhands.

Work on display will include photography, typography, street art and illustration, plus some added extras that are to remain secret until the opening night. “In any good movie, there are twists, turns and surprise endings, and we’ve tried to mirror that experience in the exhibition. It’s more than just an art display, but I can’t say any more” he says.

As well as raising money for Macmillan and AAK, Smits and Shaw hope the exhibition will help raise awareness of the devastating and wide reaching impact cancer and knife crime have on those directly affected, and their friends and families.

“For me, the worst thing about being stabbed wasn’t the attack itself – it was the after effects, the flashbacks and the frustration at what had happened. Hopefully, Not for Rental will raise awareness of that ripple effect, and of the fact that cancer doesn’t just affect a patient but their family and their friends, and being stabbed doesn’t just affect the victim – in my case, it affected everyone on the bus that day,” says Smits.

The pair also hope it will provide comfort and inspiration for sufferers. “We’ve already had amazing feedback from people who’ve heard our story saying that we’ve inspired them, and that’s exactly what we wanted to achieve.

“It’s easy to get stuck in a rut when you hit hard times and shy away from the world, but we want to encourage people to push through that, get out and do something. This is our way of helping people, and the positivity we’ve experienced working on Not for Rental has also been helping us,” he adds.

Not for Rental opens at London’s 71a Gallery, Leonard Street, London,  EC2A 4QS from July 4 until July 13. For more information, visit notforrentalproject.com

Images (from top): Promotional poster by Timba Smits; Not for Rental illustrations by Andrew Fairclough; Marco Goran Romano; Mauro Gatti, Sam Dunn and Chris Thornley

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Dover Bookshop to continue online

Two titles, on 19th-century images of men and women, from the Dover Archive

While London’s Dover Bookshop finally closed its doors in March, its manager Tim Matthews is now set to keep the business going as a web-only operation…

Relaunching doverbooks.co.uk this week, Matthews hopes that the creative community previously served by the Covent Garden-based shop will remain loyal to Dover online.

Founded in 1986, the physical shop was established as a base from which to sell the Pictorial Archive range of copyright-free imagery titles from US publishers Dover. We reported on the shop’s closure in February this year. Currently, an updated section of the website reads: “Due to customer demand we are continuing our web service. We are dedicated to offering an exceptional mail order service for these books.”

Despite the huge changes that have occurred in publishing and on the high street more generally, Matthews says he still sees a future for Dover’s services.

“I still firmly believe there are those who still love print, [who] still value sourcebooks and the original Dover format, and that the shop meant a lot to so many people – [as] a design community resource,” he says.

The relaunched Dover Books website is at doverbooks.co.uk. Subscribers to the former Dover Books site will be contacted by email in due course.

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Famous Eyeglasses

Focus sur le directeur artistique italien Federico Mauro qui présente son dernier projet personnel : une série d’illustrations représentant des gens célèbres au travers de leur simple paire de lunettes. Une création divertissante à découvrir sur son portfolio et en images dans la suite de l’article

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Norwich UA Illustration, a show with bite

OK, so it’s terrible pun but the Norwich Illustration show has been consistently excellent in recent years, packed with memorable work. Here are our picks of this year’s show

Sophie Harvey’s pencil-drawn Seven Deadly Currencies series, in which local banknotes are subverted to reference animal cruelty in the countries concerned was certainly one of the more impactful pieces in the show. Check out more of her work here

Rather gentler, but no less skilled, was the work of Abi Cooke Hunt. The Carnival series (above) was particularly beautiful, while she also works in 3D, producing these charming heads

 

I liked this poster from Amanda Scott, who also had models of 3D cactii around her display

 

Amanda also collaborated with fellow student Lizzie Bass to create Alphabuttons, a customisable button/ badge that people can sew their initials into

 

Bekah Cranch works a great deal with text – her series on Angela Carter’s Nights At The Circus combined writing about Carter and her work with extracts from the novel itself

 

And I liked Emily Osborne‘s ‘tribal’ figures

 

And I really liked the raw strength of Josh Harrison‘s work

 

Finally, while most of the illustrators were pursuing work in traditional contexts, using traditional media, Tilly Symonds stood out for her video-based work which she showed both as film and as stills appplied to record packaging

See all the graduating students’ work here

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Talent Spotters: Lincoln School of Art and Design

Print by Sunjay Morar (see below)

Over the years Lincoln has been developing a reputation for producing some award-winning creative work. With this in mind I travelled up one rainy Thursday to check out the Graphic Design, Creative Advertising and Interactive Design shows at the School of Art and Design…

First stop was Graphic DesignJack Slater had a playful illustration style that gave his work personality and really made it stand out (C’est La Vie print shown, above).

His Food For Thought cookbook (below), with recipes based around sayings such as ‘humble pie’, was a highlight and the rest of his portfolio a joy to view with some beautiful typography combined with well thought-out approaches to each brief.

Similarly playful was David Morris, a student with a self-confessed affinity for typography and print. I enjoyed his Metamorphosis project where he’d built a ‘mutoscope’ [a moving picture machine] to detail the transformation of individual characters throughout the novel.

Bringing me back to the future was Sunjay Morar who’d really embraced technology in his work. Looking through his eclectic portfolio I was intrigued by some thought-provoking visualisations of New Order and Joy Division songs developed as part of his Metamorphosis project (below), and his well-crafted poster about biscuit dunking (shown top of post).

Next I went downstairs to the Creative Advertising offering. For a course that’s only been running for nine years they are rather rapidly becoming a regular face at the student award shows.

The highlight for me came from Kwan Srisukri who had a brilliant idea for an exercise app that made me laugh (below). The rest of her portfolio demonstrated a talent for writing and an ability to come up with new, refreshing ways to tackle problems.

In my experience good writing can be difficult to find at grad shows, but I really liked the humour and eccentricity of these Fentimans adverts from Liam Nicholson and Lucy Eldridge.

Finally I popped into the Interactive Design show. It was a minimal display but arguably the most fun – with all the students contributing to one ‘headline’ offering.

Using Wii boards as the controls to an etch-a-sketch, being able to fully experience the work made for a far more engaging show. I spent a good 15 minutes failing to impress anyone with my drawing skills. For those who want to build their own the students have posted instructions online here.

All-in-all there was a nice range of work on display across the three exhibitions beyond the small selection I’ve mentioned here, proving that there’s clearly more to Lincoln than the punch line to that Inbetweeners joke.

The Lincoln School of Art and Design’s degree shows ran from 1-14 June. The school’s blog is here. Anys Brown is a copywriter at Start JG.

Talent Spotters: NCAD Dublin

Designer Ciara Fitzgerald visited Dublin’s National College of Art & Design Visual Communication degree show and chose to highlight the work of seven students that she felt really stood out…

David Lawler designed the identity of the 2013 Visual Communication class, using the visual language of cartography to convey the multidisciplinary nature of the course.

He also produced a booklet (above) that accompanied the exhibition (which he also co-ordinated) of the special edition Risograph prints designed by each of the students.

Aaron Canning redesigned the 2011-2012 World Nuclear Report, aiming to display the information as clearly and concisely as possible. The report itself was hard bound and embossed while the accompanying supplement was printed on newsprint. For better, more detailed images please visit Aaronʼs Behance profile.

Andrew Keating designed an annual report for The Irish Times. Using their 2011 figures he divided the report into four sections contained within two separate books. A sixteen-page newsprint piece was also produced which briefly documents the history of the newspaper, while also giving details about each of its past editors.

Becky Moriarty explored the 2012 ISTD project brief, It Happened on this Day, using it to examine the involvement of the design industry in public holidays. Making April Fools Day an official holiday, she created an identity and also designed and produced a range of celebration stationery to promote Aprils Fools in 2013.

Julianne McMahon wrote, designed and produced an illustrated childrenʼs book entitled Digbyʼs Big Adventure. Her beautifully detailed illustrations were created using both ink and gouache.

In addition to the book, she devised an accompanying adventure journal and a special toolkit to encourage children to engage in their own big adventure.

Oliver Callan designed an album cover, book and a limited edition poster (printed on cotton) for The War of the Worlds Limited Edition (1979 version) album. The book contains the storyʼs narration; the poster illustration was inspired by a line from the album, and all three are housed in a wooden box.

Upon leaving the Visual Communications exhibition, I headed up a floor to have a look at the work from the BA in Design and Education course. Shane Murray had created a series of posters exploring the idea of rivalry within sport – I particularly liked the Rangers v Celtic one.

The NCAD’s Visual Communication degree show took place between 15-23 June. Ciara Fitzgerald is a graphic designer currently based in Tramore, Co. Waterford. See ciarafitzgerald.com.

Royal College of Art: Visual Communication degree show

Pages from Giulia Garbin’s linocut work, The Street of Ink (see below)

In addressing some of last year’s concerns over the display space given to the RCA’s Visual Communication graduates, this year’s show makes great use of the college’s Stevens Building and presents some particularly strong work in the process…

To the left of the entrance to the first room, Minho Kwon‘s piece The Neo Arts and Crafts Movement, dominates the space.

The large central drawing, made in pencil and charcoal on tracing paper, is flanked by two smaller ones which also incorporate flickering digital projections.

It’s like a strange architectural palimpsest – with newer buildings constructed upon the lines of older forms.

Even corner spaces are played by some students to their advantage. Chris Nott‘s installation Multicultural London English, for example, used the full height of the walls to investigate the “inner city sound of London”, a modern vernacular that, Nott says, “cuts across ethnicity and race”.

In an interesting spin on the subject, Nott also looked at the way language can prohibit movement – trapping those who cannot navigate beyond a particular dialect.

And the stairwell is certainly the best place for Becky Allen‘s piece Penelope – all 14ft of it. Approaching it from below, it’s quite hard to focus on – created from thousands of miniscule lines on rice paper, collectively they produce a warping, three-dimensional effect.

Detail from Penelope

Equally, Yeni Kim brought her alcove to life with a display of elements from her three books, Animals, City Acrobat and Signs and Symbols.

There is some really impressive illustration on show this year. Miguel Angel Valdivia, for example, has adapted a screenplay – Boccaperta by Italian actor and director Carmelo Bene – which was never made into a film.

Given this starting point, Valdivia’s eventual narrative, though filmic, has no preceeding visual reference points. He claims he struggled with deciding on the media to tell Bene’s story, finally settling on a wordless narrative which best conveyed his own voice.

Similarly, the gestural detail in Joseph Rudi Pielichaty‘s series, A Young Man Getting Ready, showed a real skill at employing a simple line to convey the universal in a much-recognised morning ritual.

Salt Tse-Ying Chiang‘s block print series Pre-ego/Down State (again, black ink on paper) also offered a good counterpoint to her sculptural work where a circular train track runs through a small group of toy dolls, while an animated heart beats in the centre.

Printing onto wood, Seungyeon Choi‘s Cubes in Cubism letters posters were also really well-conceived.

And with something of the Eric Carle about his series of arcrylic, ink and cut-out paper scenes, Sam Ashton captured his love of the textural side of illustration to great effect.

The narrative behind Serena Katt‘s book Sunday’s Child, from which she displayed a series of prints, apparently came from her grandfather’s writings about his childhood in 1930s Germany. The images are also based on archive and family photographs.

And as if to bolster the strength of the work on paper exhibited at the show, Jessica Morgan‘s book, The Future of Print Magazines, provides a neat manifesto for how the medium lives in the digital world. Her poster for the RCA show itself certainly conveyed the potential within the printed form.

Jacob Robinson’s Ruin Value is an interesting approach to the discussion of how (and why) Germany’s Nazi-era history might be preserved, with particular focus on the impact of the Third Reich in Nuremberg.

It’s a very well-realised project, with the photo essay (in book form) displayed alongside some impressive large format prints. Robinson also paired up with Kelvin Brown to produced the short 16mm film, Dry Stone Waller.

Giulia Garbin‘s linocut work, The Street of Ink, is accompanied by an audio book which features recollections from some of the printing press workers of Fleet Street.

For Garbin, the location acts as “a symbol for the fall of a communication industry” and she illustrates four of the workers’ stories. (The image shown at the top of this post is from Garbin’s book project, and she also presented a series of linocut prints in red.)

I also enjoyed Tamsin Nagel‘s Enclave (ii), a two and a half metre wide pencil drawing depicting a brace of clapboard churches and which “explores the small-town notions of life, death, religion and the absurd”.

And Goya Choi‘s posters which accompanied a book and documentary were cleverly back-lit – though in a much subtler way than my camera suggests.

Choi’s focus is on the indefinite ‘leave to remain’ (LTR) rule which illegal immigrants to the UK can claim if they have ‘overstayed’ in the country for a period of 14 years, becoming legalised in the process.

In the same room, Jack Llewellyn‘s work on the book, typeface and posters for the college’s two year-old Eady Forum looked suitably rigorous for the programme’s aims.

The Forum is, writes RCA senior tutor Adrian Shaughnessy in the book’s foreword, “a platform for the analysis and interrogation of contemporary graphic design practice”, realised through lectures, seminars and discussions. Llewellyn worked with an editorial team including the aforementioned Jessica Morgan and Joseph Rudi Pielichaty.

It’s interesting to see the students engaging critically with their own practice – and showing the results within their degree show – particularly as the RCA has itself seen plenty of changes in the last few years. For one, under its new head of programme Neville Brody, Visual Communication Art & Design has become Visual Communication.

In the introductory text to the 2013 show, Professor Brody says the course will further the consideration of how new technology works with old while being increasingly aware of the changing relationship between design and the society it is created for.

The department is, he writes, “moving along a line between making things and making thought”. From the evidence of this year’s show, it looks to be getting that balance right.

The Royal College of Art’s degree shows run until June 30 at two main sites – RCA Kensington and RCA Battersea (both open 12-8pm daily, closed June 28). For the full list of exhibiting courses see rca.ac.uk.

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Lot Lot otherworldly posters

Oslo music festival Lot Lot returns for dates in August this year, with another great set of themed posters designed by studio, All Tomorrow’s

This year the planets which make up the “habitable zone” of the Kepler-62 system and the theories of 16th-century astronomer Johannes Kepler drive the theme of the posters, which are illustrated by Kristian Hammerstad.

Lot Lot is a four day series of events run in association with Øyafestivalen, that takes place in Oslo, Norway over one evening in June and three nights in August. More information on artists and dates at lotlot.no.

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Central Saint Martins: Graphic Design degree show

The Central Saint Martins BA graphic design degree show displayed an impressive range of ideas and approaches, and more than a few references to its relatively new home in King’s Cross…

The new CSM site is still proving new enough to provide inspiration for several students’ projects. The BA Fine Art catalogue, designed by graphic design students Masaki Miwa and Adam Hutchinson, for example, references the space the department occupies – the only course to have a presence on all four floors of the building.

The typeface used, Granary Complex, is by Matt Taylor who based his design on the shapes of various architectural aspects of the new campus. (Images taken from Miwa’s CSM page.)

This hand-cut print of Westminster Abbey (below) comes from Jason Pearsall‘s series, A – Z of London (Royal Albert Hall shown, top of post). More on the book, here.

This is a close-up of part of Rebecca Wood‘s ‘typeface network’, Infini-Tea. Here, two faces are printed onto two separate sheets of tracing paper; one made up of tea leaves, the other railway tracks.

The project “communicates a story of how tea connects two seemingly random people on opposite sides of the world,” says Wood. More details on the work at rlawood.com/Infini-Tea.

I couldn’t find a name attached to this piece Employing a huge piece of paper, Stephanie Byttebier investigated the frequency of letters used in the English language, with the most commonly used words clustering at the centre of the sheet. (If anyone can credit the work, let me know via the comments below and I’ll add them in here).

These clever origami designs for a new tea brand, Fortune Tea, were by Yi Guo.

I also enjoyed Joseph Townshend‘s Weaving Liminality project. Townshend says he took the concept of ‘data-bending’ as his starting point; “a term used to describe the act of intentionally corrupting digital files in a bid to create ‘artefacts'”.

He then opened up a series of image files as text files, editing and rewriting them in the process (two shown). The result is a series of glitch-heavy distortions and Townshend then applied this aesthetic to create a series of hand-woven textiles (learning how to weave in the process).

Yizi Zheng‘s series of five 3D posters, in which a coloured area grows from the centre of each piece of paper, was impressive, too. “Looking into ways to give life to paper,” Zheng says.

Edward Carvalho-Monaghan‘s work was certainly hard to miss (El Topo poster shown above). Some of his brightly-coloured sequential art reminded me in places of comic book artist Jim Woodring’s work, but Carvalho-Monaghan’s style is very much his own.

He also seems happy to work in a purely pictorial manner when constructing a graphic narrative, too – see detail from The Trip, below – which is much harder to do than it looks. Read the rest of The Trip on his website, which contains a host of other great (and strange) pieces.

Mina Pile had a great space to show a range of her work – and it was a pleasant surprise to see so much of it hanging up rather than encased in glass. She also displayed some of the lino she used to create the prints (see below, in light blue). And frankly, who doesn’t like a piece of lino.

And linocut was also used by Cai Lunn to striking effect in a series of illustrations for The Wind in the Willow (two shown).

I also liked the deranged, claustrophobic quality of Clio Isadora‘s Anxiety Portraits – if I recall, they were made using the most unattractive colours she could find. More here.

My camera-work doesn’t do Celia Colantonio‘s Nostradamus print justice (above), so here it is is red, minus reflections, taken from her page on the CSM graphic design 2013 site.

Matt Gardner‘s prints were also really interesting and I would have liked to have seen more going by the range of great examples of both design and illustration on his site, dirtwizzarrd.tumblr.com.

Finally, while I couldn’t see a credit for these posters written in Turkish (above), on display in the publications room, Natalie Braune‘s collection of elegant printed works impressed (below). Image taken from her CSM page; more of her work at her Cargo page, here.

The Central Saint Martins BA graphic design degree show closed last weekend, but the students’ work is well documented on csmgraphicdesign.com.

 

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