Morag makes the CR Annual cover

The cover image for this year’s Creative Review Annual (out this week) was created by Morag Myerscough in her inimitable hand-crafted style. See how she did it

 

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Here’s the final cover – the issue will be out tomorrow

 

Myerscough, as well as having work selected for The Annual this year, is also the subject of a major profile piece in the magazine this month. You can buy a copy direct from us here

 

See more of her work here

Gary Baseman: The Door is Always Open: The artist’s family heritage and childhood home inspire an interactive retrospective complete with custom wallpaper

Gary Baseman: The Door is Always Open


Gary Baseman fills his world with a recurring cavalcade of characters. His constant companion Toby, the adorable ChouChou and creatures large and small fill forests, gardens and shrines and seemingly float through air. But the whimsy…

Continue Reading…

Derelict nightclub reborn as secret street art gallery

Work by YZ at Les Bains. Photo: Jérôme Coton

 

50 of the world’s finest street artists have been given the run of a derelict nightclub in the heart of Paris

Les Bains-Douches, a stone’s throw from the Pompidou Centre, was built in 1885 as a municipal bathhouse. More recently, as Les Bains, it became one of the coolest nightclubs in Paris, in its time a favourite haunt of Mick Jagger, Kate Moss, Johnny Depp and Andy Warhol. But some over-enthusiastic DIY work by the nightclub’s director led to the building being declared a safety hazard and in 2010, it was ordered to be closed.

 

By Julien Malland Seth. Photo: Jérôme Coton

 

The following year, owner Jean-Pierre Marois formed La Société des Bains to try to preserve the building, eventually securing its future as a new venue which will open in 2014. But what to do with the derelict building in the meantime?

“In keeping with the artistic soul of the place, we have transformed this dead time into a fleeting, creative buzz,” Marois declared on Les Bains’ website. “Les Bains will host an Artists’ Residency, and the whole building will be offered as a giant canvas for a plethora of urban artists commissioned by Magda Danysz.”

 

Sambre work in progress. Photo Jérôme Coton

 

From January this year, 50 renowned street artists have had the run of the building, turning it into a 3,000 square meter gallery, albeit one that is inaccessible to the public. Marois and gallery owner Magda Danysz invited artists including Futura, Space Invader and Sambre to use material drawn from the building – electricity, ripped-up floorboards, rubble and spray paint – to capture its former energy. Smashed disco balls are a recurring motif.

YZ. Photo Jérôme Coton

 

On April 29, renovation work will begin. None of the artworks will be preserved. “There’s a certain absurdity that I like,” says Marois of the project. “Not many people will see it, it’s all going to disappear.”

Not without trace, however. Two full-time photographers are documenting work in progress for the website; Danysz is publishing a catalogue of the event.

 

Scratchpaper. Photo: Jérôme Coton

 

Lek&Sowat. Photo: Jérôme Coton

 

L’atlas. Photo: Jérôme Coton

 

JF-Julian. Photo: Jérôme Coton

 

1984. Photo Jérôme Coton

LEK. Photo: Jérôme Coton

It may be the end of a legend, but Les Bains is going out in style.

 

Images courtesy Galerie Magda Danysz

 


The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.

CR student offer

Students can now save 30% off a subscription to Creative Review

Yes, we know, finally, right? Students can now get a discount of up to 30% on a print subscription to CR. All you have to do is go to our Shopify page here

UK-based students now pay just £49.70 (instead of £71) for 12 issues of Creative Review delivered straight to your door (there are also discounts for European and rest of the world-based students). No longer will you miss out on special issues such as our celebration of 150 years of the tube or our CR Annual

And of you subscribe for longer, the savings get bigger: £83.30 for two years (instead of £119) and £117.60 for three years (instead of £168).

And all subscribers receive our award-winning Monograph booklet each month for free, featuring projects such as James Jarvis’s Amos graphics (below)

Or the collected work of Gerald Cinamon

To take up the offer, just visit our Shopify page here

Cover versions: when less is more

Ulysses by James Joyce (Vintage). Cover by Peter Mendelsund

Print publishing’s uncertain future is spelled out in the difference between a range of recent book covers that say too much, and others that are content to let the design speak for itself…

Celebrating its 40th anniversary, Abacus Books has relaunched 18 classic titles from its back catalogue. They include Iain Banks’ The Wasp Factory, Nelson Mandela’s A Long Walk to Freedom and David Foster Wallace’s Infinite Jest.

Each book has an illustrated cover and there are enough intruiging new jackets that will no doubt attract new readers and prompt some of those who already know the texts to think about reading them again.

But there’s something else these covers do, which is evident in the little grey box top-left of each one: they say far too much. Here’s an example from the series – set on a striking typographic cover by Neasden Control Centre.

The No. 1 Ladies Detective Agency by Alexander McCall Smith (Abacus). Cover by Neasden Control Centre

It has been the blight of many book covers over the years – the author’s name, title and cover design supplemented by a few superfluous thoughts from the publishers, a few notes on why the book you are holding in your hands is really worth your time.

A Man Booker prize-winner might have a sticker attached; Oprah’s and Richard and Judy’s Book Clubs do the same thing, but even these elements have started to become permanent features of a book’s cover (AM Homes’ doughnuts cover a case in point).

Master Georgie by Beryl Bainbridge (Abacus). Cover by James Brown

Similarly with reissues of books that were first published years ago – and, in particular, those reprinted as part of an anniversary set – it’s a given that this information will be flashed up on the cover. Here though, in its desperation the text becomes intrusive over the actual design.

Again, it isn’t the artists or illustrators who are guilty here. It’s the design additions that appear on top of their work which do them an injustice. Over Nick White‘s otherwise great cover for David Sedaris’ Me Talk Pretty One Day, for example, the grey box intrudes enough to compete with the first speech bubble in the title. Sadly it’s a technique employed across a whole series that does contain (as in the two shown here) some really strong covers.

Me Talk Pretty One Day by David Sedaris (Abacus). Cover by Nick White

The alternative to the verbose nature of the these somewhat panicky cover additions is to take the opposite approach, and let the cover stand on its own; even allow it to get away with conveying the barest of information to the reader.

There are plenty of good examples where the book’s designer (and publisher) have confidence that the cover is strong enough to entice new readers, and that it conveys something of the book’s content without being too literal.

In a piece in the New York Times at the end of last year, a panel made up mainly of designers and art directors were asked to nominate their favourite book covers of 2012. Many of them were stripped back, unfussy but type-heavy; devoid of extraneous text or information – just simple, bold statements of intent.

On nominating Tal Goretsky and Darren Haggar’s cover for the US edition of Zadie Smith’s NW, book designer Peter Mendelsund said, “It takes a certain kind of bravery on the part of a designer to create a jacket this, well, ‘un-designed.’ (It also calls for a certain amount of gumption on the part of the publisher.) But the end result is a jacket that is eye-catching, elegantly proportioned and that exudes confidence.

“I’ve always been of the opinion that the less design interposed between a reader and a work of fiction the better. A novel is a feat of imagination, shared between a writer and a reader. There’s no need to add a designer into that equation.” (Mendelsund’s covers designs for two of Vintage’s new editions of James Joyce are shown at the top and bottom of this post.)

NW by Zadie Smith (Penguin Press). Cover by Tal Goretsky and Darren Haggar

Dave Eggers also took a back seat in his clinical approach to the design of David Byrne’s How Music Works, which also appeared on the New York Times’ list, selected by Steven Heller.

How Music Works by David Byrne (McSweeney’s Books). Cover by Dave Eggers

And using the merest hint of a recognisable form in the centre of his design for Thomas Mallon’s Watergate, Paul Sahre managed to convey one of the central tenets of an infamous political storyline.

Watergate by Thomas Mallon (Pantheon). Cover by Paul Sahre

Sahre went even further with his cover for In Dreams Begin Responsibilities by Delmore Schwartz, the only additional text no doubt a selling point for fans of both the author and the musician (NB: the book cover is on a black backgroud here):

In Dreams Begin Responsibilities by Delmore Schwartz (New Directions). Cover by Office of Paul Sahre

While these four examples are strong covers – and not meant as a direct comparison with the cover designs put out by Abacus – the point is that they are simply left to do their job on their own terms. There’s no unnecessary, qualifying text to reassure the reader of the book’s quality or content, or, in Abacus’ case, of the reason for its existence in yet another edition.

Earlier this year, in his new cover for George Orwell’s 1984 designer David Pearson demonstrated that, sometimes, saying even less than the above examples can prove highly effective.

While of course he had the might of Penguin and, indeed, Orwell’s sizeable reputation behind him, it was nevertheless a bold move from both designer and publisher to treat a famous text like this. Essentially, Pearson took a censorial approach and blanked out the title and author’s name altogether. Through the clever use of debossing and a matt black foil, however, both are in fact legible in the right light.

1984 by George Orwell (Penguin). Cover by David Pearson

Back at the Times’ list for the covers of 2012 and reductionism went even further. A designer at Penguin herself, Coralie Bickford-Smith chose Jon Gray‘s cover for Albert Espinosa’s The Yellow World as her favourite.

“[It’s] a brave cover, just like its writer, whose decadelong battle with cancer is detailed within its pages; no title, subtitle or author, just shape and color,” Bickford-Smith said.

“The ability of a designer to distill a book’s contents down to total visual simplicity is a rare gift indeed, and for a publisher to proceed with such a bold concept, rarer still. It’s liberating to see a book cover that draws you to it like a piece of art on a gallery wall.”

The Yellow World by Albert Espinosa (Penguin). Cover by Jon Gray

As Mendelsund implied, the most successful and rewarding covers are often those where the cover doesn’t get in the way of the writer’s relationship with the reader, perhaps just initiates it. And if the designer has been left to do their job, this in turns allows the cover to perform its role. Then the books can do the talking.

Dubliners by James Joyce (Vintage). Cover by Peter Mendelsund


The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.

What a BA jumbo jet is made up of

From toilet rolls to teaspoons, British Airways loads thousands of individual items on to each jumbo jet before it takes to the skies. Fifty BA employees created an image of a giant plane made up of these items on the floor of an aircraft hangar

According to BA, on a typical jumbo jet, the following items are loaded for each flight:

1,263 items of metal cutlery
1,291 items of china crockery
538 meal trays
735 glasses
650 paper cups
34 metal teapots
220 drinks stirrers
500 coasters
233 toothpicks
2,000 ice cubes
99 full bottles and 326 quarter bottles of wine
700 small cans of fizzy drinks
164 bags of nuts in Club World
337 cushions and pillows
337 sets of headphones
337 headrest covers
435 air sickness bags
58 toilet rolls
40 extension seatbelts for children
340 safety cards
337 copies of High Life magazine
40 skyflyer packs for children
5 first aid kits

All this has to be unloaded at the other end, then reloaded for the next flight, BA say. Which is something to think about next time you are cursing about your delayed plane.

BA employees created an image of a jumbo made up of these items on the floor of a hangar at Heathrow. The process was captured in this time-lapse video

Apparently, the image was first drawn out by two ‘artists’ but neither wish to be named!

In the image, Big Ben is made up of air sickness bags

 

The London Eye is made of a teapot, cutlery, crockery and socks

 

Oven racks also contribute to the London skyline

 

The tailfin is made of headset bags and extension seat belts

 

The Gherkin is made from cushion covers and socks from first class

 

Tea and coffee bags represent the Shard

 

And Tower Bridge is formed from slippers and wash bags

 

All images © Nick Morrish

The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.

Lacoste launches kaleidoscopic celebratory campaign

Lacoste is celebrating 80 years and its iconic L.12.12. Polo shirt in a wide-ranging, colourful campaign. Created by BETC Paris, and its BETC Luxe and BETC Digital spin-offs, the campaign encompasses outdoor, print and digital and puts the Polo shirt firmly centre-stage, with core imagery shot by fashion photographer David Sims.

In addition, the campaign includes a joyous stop-motion online video, The Saga: 80 Years of the Lacoste L.12.12.. The animation shows off the shirt through the ages, also charting Lacoste’s evolution from sporting goods to fashion brand. It uses Polo-shirts of different hues to conjure a kaleidoscopic homage to the shirt itself and various decade-defining icons such as the Rubik’s cube, psychedelia and computer game Pong.

The one-minute video, which is being shown on the main Lacoste website and in stores, was co-designed and directed by Axel Courtière and FX Pourre at UFO who used more than 250 shirts to make up the animation – see the entire video below.

Some of the references are also picked up by a campaign website that shows how the shirt has evolved since 1933. It allows visitors to play four interactive games – from attempting to solve a virtual Rubik’s cube against the clock to sorting the colours of the rainbow. The Rubik’s cube in particular is somewhat addictive, if ever frustrating.

Above: two screengrabs from the interactive online games; below: press image shot by David Sims

Credits:

Agency: BETC/BETC DIGITAL
Executive creative director: Rémi Babinet
Creative director: Annick Teboul, Safia Bouyahia
Artistic director: Nicolas Casanova, Jean-Charles Guillet

The Saga: 80 years of the Polo L.12.12
Director UFO’s FX Pourre + Axel Courtière
Creatives : Jean-Charles Guillet, Caroline Cornu
Director of Creation : Safia Bouyahia
Director of photography : Martin Konrad
Animators : Juliette Marchand, Sylvain Derosne
Post Production : Mathematic.tv

The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.

Forensic artist challenges Dove women’s self-perception

Dove and Ogilvy Brazil have hired a forensic artist to show the difference in how women see themselves and how they are perceived by others. As part of its ongoing ‘Campaign for Real Beauty’, which has seen Dove pull off various high-profile stunts to celebrate the natural beauty of ‘real women’, the beauty brand invited women to be sketched by Gil Zamora, an FBI-trained forensic artist.

Without seeing the women, Zamora used only their own descriptions, and his forensic training to piece together a detailed portrait. He then illustrated another portrait, but going on the descriptions of random strangers who spent a limited time chatting to the women.

The results certainly have an impact, with both portraits clearly representing the woman sitting – but the own description in most cases far more unforgiving and unflattering than the one by the stranger.

Among the accompanying videos is a brief documentary that tells the story of the experiment, and an interesting little insight from Zamora on how he applied his forensic technique to the campaign (see below).

There are already a few detractors on the Real Beauty Sketches website questioning Dove’s selection of women in the first place, for example. And it’s not clear how many women were sketched overall. But the campaign nonetheless manages to use an innovative idea to bring its core message across with instant effect.

Credits
Agency: Ogilvy & Mather Brazil
Chief creative 0fficer: Anselmo Ramos
Executive creative director: Roberto Fernandez /Paco Conde
AD: Diego Machado
CW: Hugo Veiga
Sketch Artist: Gil Zamora
Producer: Veronica Beach

Production Company: Paranoid US
Director: John X Carey

 

The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.

Pick Me Up 2013

From learning how to model Shaun The Sheep with Aardman’s Jim Parkyn to pulling a screenprint with Print Club London or creating your own A5 artwork with Human After All using specially created facial feature rubber stamps – here’s the CR guide to Pick Me Up 2013 which opens at Somerset House this week…

Yes, London’s annual graphic art fair, Pick Me Up, opens this week and there’s a lot going on over the eleven days at venue Somerset House, so we thought we’d explain the various elements of the festival and also flag up some of the things we’re most looking forward to.

Pick Me Up Selects is the first part of the fair that visitors will encounter. This is essentially an exhibition of brand new work by 17 image makers selected by a panel of curators that included established illustrators Andrew Rae and Chrissie Macdonald, Charlie Hood of east end gallery Beach, editor and curator Liz Farrelly, plus CR’s own Gavin Lucas.

PMU Selects exhibitors this year include one half of design duo Jiggery Pokery, Anna Lomax (the above work was created collaboratively with photographer Jess Bonham) and also Damien Florébert Cuypers:

Plus Daniel Frost:

 

Hattie Stewart:

Jean Julien:

Katie Scott:

Malarky:

Malikafavre will be showing off her Kama Sutra alphabet artworks and animations (see here for more details):

Rob Flowers:

Sarah Vanbelle:

Stuart Patience:

Tom Edwards:

Ugo Gattoni:

After feasting your eyes on the work of the 17 PMU Selects artists, visitors to Pick Me Up will soon find themselves upstairs in amongst the wares of numerous collectives and galleries from around the UK (and beyond) who will be exhibiting work and selling prints and products. Some will also be inviting attendees to get involved in various activities.

Pull a screenprint and hand colour it with Print Club London, print your own handbills and T-shirts with Illinois ‘print posse’ Fatherless, find out about papercraft with Handsome Frank illustrator Helen Musselwhite (examples of her work, above), or create your own Face Stamp! artworks using the specially created rubber stamps at Human After All‘s activity area (Adrian Johnson’s and Craig and Karl’s face stamp contributions shown below).

Meanwhile, a schedule of Daily Specials sees yet more illustrators including Jon Burgerman, Ian Stevenson, Emily Forgot, and calligrapher Seb Lester present their own fun art-making activities, each for just one day only.

Pick Me Up also has an activity space which is hosting different events each day. Highlights on the festival schedule include a letterpress workshop with Alan Kitching on Friday April 19; a Shaun the Sheep model making workshop run by Aardman‘s Jim Parkyn on Saturday April 20; a reading workshop and book signing by Axel Scheffler, author of The Gruffulo, on Sunday April 21; plus a felt toy making workshop with Felt Mistress on Monday 22 April (more on that here).

As if all of the above isn’t enough graphic art action, there is also a full schedule of lectures and screenings at Pick Me Up. On Tuesday April 23 Derek Brazell, illustrator and projects manager at he AOI, will provide an introduction to copyright, the foundation on which an illustrator makes a living, while the AOI’s Matthew Shearer will explore the importance of competitively pricing your illustration work and understanding commission fees and buy outs on Thursday April 25. The Guardian Digital Agency is set to deliver an already sold-out talk on turning raw data into striking visual stories.

In short, there’s a lot happening and with talks already selling out, it might be worth booking the events you’d like to attend sooner rather than later. Find full details of Pick Me Up here and also a nifty Daily Diary day planner here.

Pick Me Up 2013 runs from April 18-28 at Somerset House, Embankment Galleries. Open daily from 10am to 6pm. On Thursdays the show is open until 10pm. Last admission is 45 minutes before close. Admission is £8. Concessions £6. You can get a Festival Pass for £15.

And if you can’t make it to Pick Me Up, you can always visit the online shop at pickmeuplondon.com


The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.

The Partners draws attention to street children

The Partners has created a striking campaign to raise awareness of the plight of street children around the world.

The branding consultancy was commissioned by the Consortium for Street Children, with the goal of highlighting the issue of children that have to live on the streets, both in the developed and developing worlds, and challenge the United Nations to officially recognise International Day for Street Children.

The Home Street Home campaign crystalises the issue in a visually effective way, using giant children’s room signs, placed in rather inhospitable looking street locations across south east and east London, to draw attention to the situation many kids are in.

The campaign used images of the signs, shot by photographer Paul Grundy, in the run-up to International Day for Street Children on April 12, also placing print ads and posters in various locations in UK cities and publications, and encouraging viewers to sign a petition for official UN recognition.

On the day itself, the signs – which were created and installed by the Jack Agency – were placed in high footfall areas such as Old Street underground station to gather further support (see below).

According to Stuart Radford, creative director of The Partners, the signage was designed to be portable and “can work in guerrilla fashion so that the charity can gain maximum benefit from the material developed for the campaign”. It also allows CSC to expand the campaign to different cities, as required.

Since the call to action on April 12 the petition has attracted nearly 3,000 signatures.

Credits:
Creative consultant: Nick Clark
Creative director: Stuart Radford
Designer: Jonathan Brodie
Project manager: Meghan Hagerty

Photography: Paul Grundy
Sign installation: Jack Agency

The April print issue of CR presents the work of three young animators and animation teams to watch. Plus, we go in search of illustrator John Hanna, test out the claims of a new app to have uncovered the secrets of viral ad success and see how visual communications can both help keep us safe and help us recover in hospital

Buy your copy here.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878, or buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

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 will also update with new content throughout each month.