Creative Review’s bumper July double issue includes an extra 60 pages of great work in our Illustration Annual plus features on Chris Milk, the Coca-Cola archive, Cass Art and Friends With You
Congratulations to everyone featured in our Illustration Annual, especially to our Best in Book winners, three of which are shown here
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Elsewhere in our special double issue, Eliza Williams meets Chris Milk, the director behind such interactive extravaganzas as Arcade Fire’s The Wilderness Downtown site and The Johnny Cash Project
We take a look at the 10-year designer/client relationship between Pentagram’s Angus Hyland and Cass Art’s Mark Cass and their mission to “fill this town with artists”
Mark Sinclair delves into the remarkable Coca-Cola archives, uncovering early brand manuals, Coke’s first African-American spokesperson and some unlikely celebrity endorsements
Gavin Lucas interviews the ever-joyful Friends With You as their latest installation opens in New York
And LogoLounge‘s Bill Gardner sifts through thousands of submissions to bring readers the most significant trends in logo design from the past 12 months
In our Crit section, the London Transport Museum’s Claire Dobbin traces the role of the River Thames in London Underground’s advertising down the years
Rick Poynor enjoys the British Library’s Out of this World show on sci-fi
And Eliza Williams reports from the PhotoEspaña festival where, this year, it’s all about the portrait
And for subscribers only, our Monograph booklet features Stephen Wragg’s fantastic Walking Men project
Thanks to Peter Grundy for this month’s cover design (the i is for illustration in case you were wondering), which has both a white and a silver foil courtesy of Celloglas and is printed on Rives Design Bright White 350gsm, supplied by Antalis McNaughton
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine and get Monograph.
Loughborough’s Fresh Milk show features the work of its visual communications graduates. Here’s a selection of some of the projects that caught our eye…
Above is close up of one of Jake Machen‘s twisted characters (read on for more of his work) while, below, is a piece by Andrew Williams.
Here’s Bon Iver, as illustrated by Doug Crookson in his Skinny Love portrait:
While Will Haywood‘s BBQ-ing horse made us smile, he also created this clever wine-themed pattern:
This piece is by Carolyn Bayley:
And Paul Eaton’s work was great. Here’s his take on the Seven Samurai and a Hammer-themed cover and spread for Little White Lies magazine:
Here are some more of Jake Machen’s bizarre creations (one of his images opens this post). It’s like The Dandy you wouldn’t want your children to see. Have a look at his blog for some excellent comics, too:
And Ben Howarth did something interesting with glass:
Lucie Gould and Rosie Collins came up with this packaging for Tuborg beer (I’m assuming this was a collaboration as the images appears on both their pages):
And this type piece, What would you do if you knew you couldn’t fail?, is by Carla Juniper.
In the interactive projects we liked Michelle Charlton‘s Way Out app which helps London Underground users to find the right exit to take at each tube station (a short film about it is here):
They also showed where they got their particular references from in an accompanying film (a still from this is below). Both films are here.
For more work from all the graduating Loughborough visual communications students, visit freshmilk2011.co.uk. The show is on until tomorrow at the School of the Arts, Epinal Way, Loughborough LE11 3BT and will then move on to D&AD New Blood in London next week.
The graphic design course at the University of Lincoln has certainly become one to watch in recent years. Here’s what caught our eye from this year’s graduates
First up is Luke Ochrombel‘s response to the ISTD 2010 brief based on the number 100. It’s a a kinetic type animation of a key piece of dialogue from Stanley Kubrick’s Dr Strangelove
The RSA’s Giving and Getting brief to students asked for a scheme that would make it easier for charities to ask for money and easier for people to donate. Jennie Plant’s response was to introduce playful elements into a car park on behalf of CHIPS (Children’s Integrated Playschemes). Kids could encourage their parents to park in a particular coloured spot while games like hopscotch could brighten up dreary interiors.
We liked Anna Sangha‘s Corrupt Corporation project “to make the public more aware of how corrupt corporations are, what methods they use to get consumers to by their products and get them to believe in their corporation/ brand”.
Rick Green was one of several students to tackle an ISTD brief to redesign Edwin Abbott’s satirical novella Flatland. He also designed a rather nice range of Italian foods is response to a brief set by the Roses to redesign something in a supermarket.
We also liked Ric Gravina‘s series of scientific book covers for Pelican.
TapTone is Sophie Adams‘ idea for an iPhone app “based on the idea of rekindling the relationship between illustration and music now that downloading is the most popular format. The user taps along to the music they are listening to on the screen and creates an abstract animation”.
Emma Benwell was another to tackle the Flatland brief, here concentrating on relationships between the sexes in Abbott’s imagined 2D geometric world.
Unfortunately many students still fail to realise the importance of having a working website that creates a great first impression. Not so Matt Crowe – check out the image from his home page.
And finally a joint installation project from Matt Young, Chris Taylor, Dan Scase, Dan Unsworth and Ric Gravina (see above) that just about sums up how most final year students will have been feeling over the past few months.
Thanks for reading the CR Blog but if you’re not also reading Creative Review in print, you’re missing out.
The June issue of CR features a major retrospective on BBH and a profile piece on the agency’s founder, Sir John Hegarty. Plus, we have a beautiful photographic project from Jenny van Sommers, a discussion on how illustrators can maintain a long-term career, all the usual discussion and debate in Crit plus our Graduate Guide packed with advice for this year’s college leavers.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30%.
As part of their design of a new ‘experience space’ in Shanghai for whisky brand Johnnie Walker, creative agency LOVE created a series of commemorative edition bottles, referencing the Chinese decorative style of blue and white porcelain…
In LOVE’s first project for Diageo Asia, the Manchester-based agency worked with interior designers, Asylum, on the look of the Johnnie Walker House which is set to open in Shanghai. The four story house will be used to market Scottish whisky to Chinese consumers and tell the story of the brand’s history through interactive installation made from materials used in the whisky-making process.
Other features of the House include a copper sculpture of the distillery process (below); various illustrations by the TOY agency made in the material; typography etched into oak floors; and even a “peat wall art feature”, no less.
For the launch, LOVE designed the Johnnie Walker 1910 Commemorative Edition bottle, a “for sale by invitation only” blend, 1,000 of which will be created for the House. The illustration on the bottle was done by Chris Martin of TOY.
CR in Print
Thanks for reading the CR Blog but if you’re not also reading Creative Review in print, you’re missing out.
The June issue of CR features a major retrospective on BBH and a profile piece on the agency’s founder, Sir John Hegarty. Plus, we have a beautiful photographic project from Jenny van Sommers, a discussion on how illustrators can maintain a long-term career, all the usual discussion and debate in Crit plus our Graduate Guide packed with advice for this year’s college leavers.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30%.
It’s that time of year when we head to the degree shows seeking fresh talent. I visited the Central Saint Martins show at Nicholls & Clarke on Shoreditch High Street yesterday to have a mooch around. Here’s my pick of the work I saw…
One of the first things I saw was this huge, undeniably attention-grabbing (it’s about 8 x 8 foot) image by Fran Marchesi – who is something of a hand lettering specialist.
Next I snapped Henry Griffin‘s football scarf project in which he used knitted blocks of colour to represent various footballing facts.
Kirsty Collar exhibited illustrations of various East London neighbourhoods. Swimming pools, alms houses, crowds of kids, drunks and ducks abound…
This poster (and the alphabet shown below) shows off Fernando Rodrigues‘ Parallax typeface, the design of which, he says, “draws equally from tradition and innovation; it owes as much to the works of Gerard Unger, Fred Smeijers and Matthew Carter as it does to works of Christophe Plantin, FH Pierpont, JM Fleischmann, Philippe de Grandjean and Stanley Morison.”
These cosmic cats by Boya Latumahina caught my eye. As did her self-promotional poster displayed below:
These two posters led me to the display of Jonathan Seary – at which I found issue one and two of a one colour newsprint publication entitled The Changing Face of the Modern Gentleman. Issue one was printed monochrome black, and issue two monochrome red. Here’s a closer look:
Ji-ah Park displayed a large scale illustration of strings of hand drawn type made up from various objects. Underneath was a selection of felt tips and an invitation for visitors to the exhibition to colour in or write stuff and generally interact with the piece. jiahxpark@gmail.com
Illustrator Ellie Wintram created this series of images called The Beauty of Geometry
Jan Bielecki may be just graduating yet his work feels highly accomplished. Here is a selection of his work on display:
The above image, entitled Overprotective Parenting, was commissioned by GöteborgsPosten earlier this month.
The above illustrations are designed to encourage people to eat less meat.
Of all the photography on display, this image by Catriona Maciver (her graphic work was also great) was my favourite.
In advertising I quite liked Joanne Shum‘s spec ad for Parker pens (above) and also Henry Dinkel & Olga Krasanova‘s wall-painted Economist ad, created in response to a brief from McCAnn Erickson. “We wanted to break away from the brand’s monochromatic look and elitist stereotype to try and say something different,” they say. “The thought was to show people that global issues, small or large, have an effect on people and how they live their lives – hence the Economist is more about your life than you might think.” To see more of the pair’s work, visit trustmeimrussian.com.
Central Saint Martins graphic design degree show runs until Wednesday June 22 at Nicholls & Clarke, 3-10 Shoreditch High Street, London, E1 6PG. For more info, call 020 7514 7022/3
Wieden + Kennedy’s Old Spice campaign was the big winner at this year’s D&AD Awards, picking up two Black Pencils out of the six awarded. There were Black Pencils too for the Plumen lightbulb, JWT New York, Arcade Fire’s Wilderness Downtown and the iPad. And Neville Brody was given the President’s Award
W+K’s The Man Your Man Could Smell Like campaign picked up five awards in all, its Black Pencils coming in the TV Commercial Campaign Category and the TV Commercials 21-40 Seconds Category (though wasn’t the YouTube response element the most interesting bit? That only got Yellow). The wins pretty much complete a clean sweep for the campaign which has also won the top awards at Cannes, One Show, the NY Art Directors Club and many more over the past year.
Hulger and Sam Wilkinson also won Black for the Plumen 001 lightbulb in the Consumer Product Design Category (the Plumen also won the Brit Insurance Designs of the Year Award, which we posted about here).
And Arcade Fire’s The Wilderness Downtown promo (entered by @radical.media) followed up its Best in Book in the CR Annual and countless other wins with a Black Pencil in the Web Films Category. (Its director, Chris Milk, is profiled in the July issue of CR, out on June 22. Arcade Fire was also our Client of the Year.)
JWT New York also won Black for its ‘Burma’ campaign for Human Rights Watch in the Installations Category
And, finally, the now-traditional prize for Apple, this time for the iPad (shown above, just in case you’d forgotten what it looked like), in Consumer Product Design.
A total of 53 Yellow Pencils were also awarded. In design, GBH had a good year with three Yellows for its Puma work, one in Brand Experience & Environments for The PUMA Unity Initiative, part of its Play for Life campaign, a UN-backed scheme encouraging biodiversity. As part of the scheme a special Africa Unity football kit was created whose colours apparently “represent the sun, sky and earth. PUMA mixed soil from several African countries to create the pigment used to develop the earth elements of the kit,” we are told.
and the third in Packaging Design for PUMA Clever Little Bag, an alternative to traditional shoe packaging developed with Fuseproject.
Elsewhere in graphic design the Yellows were, again, pretty thin on the ground despite a 39% increase over last year in work either nominated, in-book or awarded a pencil.
The Chase won in for its Almost Extinct calendar for the BBC in Calendars.
It also picked up a Yellow Pencil in Writing for Design for A Picture Speaks a Thousand Words, a campaign (with copy by Nick Asbury) for photographer Paul Thompson which we blogged about here.
Cartlidge Levene took Yellow in Wayfinding & Environmental Graphics for its Bristol Museum & Art Gallery work.
There was a Yellow for Germany’s Jäger & Jäger in Catalogues & Brochures for furniture brochure Moormann in Simple Terms
In Typefaces, Spain’s Mucho won for Art Out, a publication for the Fundación Arte y Mecenazgo (the Art and Patronage Foundation in Barcelona)
while Animatorio and Lobo of Brazil won in Channel Branding & Identity with Toy Soldier for Cartoon Network Latin America
Cartoon Network in the UK also won a Yellow Pencil for Cartoon Network Duplicators
W+K’s Write the Future for Nike picked up awards for TV Commercials over 120 seconds, Integrated, Direction for Film Advertising and Editing in Film Advertising
And TBWA\Chiat\Day Los Angeles’s Gatorade REPLAY, a five-part online documentary in which sports teams renew old rivalries, won in Integrated and Direction for Film Advertising
Plus HEIMAT, Berlin won in Sound Design for Film Advertising for its Faces ad for Hornbach
Other highlights include Troika’s V&A Palindrome sign, which won in Installations (we wrote about it here)
CHI & Partners’ Sunday Times Rich List campaign, for Poster Advertising Campaigns
Droga5’s Decode Jay-Z with Bing (which we featured here) which won in Ambient
In Spatial Design, Carmody Groarke won for Studio East Dining, a temporary restaurant on the roof of Westfield Stratford City
BBH London’s St John Ambulance Life Lost won in Press Advertising Campaigns
As did AlmapBBDO’s Billboard Music. See What It’s Made Of campaign
Also from Brazil, DDB’s Neighbours / America ad for Fedex won too
And there was a Yellow Pencil in Illustration for Press & Poster Advertising for Ogilvy Singapore for its Faber Castell campaign
AMV BBDO was a winner for its Walkers Sandwich campaign which took over the eponymous Kent town, inviting various celebrities in the process
Mobile winners included Hakuhodo’s Salute Trainer for the Japan Maritime Self-Defense Forces which uses the phone’s motion detector to make sure recruits are saluting in the approved manner
And Dentsu for its charming iButterfly app
In magazines, Wallpaper* won for its DIY cover project (which we covered here)
New York won in Entire Magazines for its Spring / Fall Fashion Issue
and Bloomberg Businessweek won in Entire Magazines for its 2010 Year in Review
Other ad winners included Great Guns for its Local Radio BBC spot for RKCR/Y&R
TBWA\Paris for its Amnesty Death to the Death Penalty spot
RKCR/Y&R and Marc Craste for its Winter Olympics BBC trail
and TBWA\London for Skittles Updater
Plus CP+B won fo Dominos Turnaround
In Direct Integrated Campaign, Saatchi & Saatchi Sydney won for the Country Australia Border Security – Nothing Soft Gets In for Toyota
Code and Theory’s Vogue redesign won in Graphic Design for Websites
and Y&R New York’s Invisible Pop Up Store app for Airwalk won in Digital Design
Plus R/GA New York won in Digital Solutions & Use of Social Media for its Pay With A Tweet scheme whereby people on Twitter received a free book donwlaod in exachange for Tweeting about it
while in Integrated Digital Campaigns BBH won for Google Chrome Fast
and Mother New York won in Brand Experience & Environments for its Target Kaleidoscopic Fashion Spectacular at New York’s Standard hotel
which pretty much just leaves music video, in which the Yellow Pencil winners were
Harry & Co for Zef Side by Die Antwoord
Colonel Blimp for Love Lost by The Temper Trap, directed by Dougal Wilson
and Prayin’ by Plan B, entered by Partizan, directed by Daniel Wolfe
The other major news of the night was that Neville Brody was given this year’s President’s Award, the top honour that D&AD bestows each year to someone who has made an outstanding contribution to creativity. Here is Brody receiving his award from D&AD President Simon ‘Sanky’ Sankarraya and chief exec Tim O’Kennedy. He looks pleased.
Thanks for reading the CR Blog but if you’re not also reading Creative Review in print, you’re missing out.
The June issue of CR features a major retrospective on BBH and a profile piece on the agency’s founder, Sir John Hegarty. Plus, we have a beautiful photographic project from Jenny van Sommers, a discussion on how illustrators can maintain a long-term career, all the usual discussion and debate in Crit plus our Graduate Guide packed with advice for this year’s college leavers.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30%.
Illustrato da Ashley Ross per promuovere corsi di formazione presso una pasticceria nel centro di Vancouver. Sulla carta da forno è stampata direttamente la ricetta da seguire passo x passo. {Via}
Swimming against the tide of the current proliferation of food blogs, illustrator David Meldrum has been documenting every item of food consumed each day for the last year, not online, but on paper in the form of daily illustrations. He began the project on June 15 last year and tomorrow will open an exhibition of all 365 drawings at the ARCH 402 Gallery in Hoxton…
In the drawings the artist lays bare both the delights and horrors of the modern diet as salads, bowls of delicious looking spaghetti, glasses of wine in elegant glasses find themselves rubbing shoulders with burgers from McDonalds, chocolate bars (Cadbury’s Freddo is a recurring theme) and packets of crisps. Here are a few, dare I say it, tasters of what to expect from the exhibition:
The Food Illustrator Project runs from tomorrow June 17 – June 26 at the ARCH 402 Gallery, Cremer Street, London E2 8HD.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
And there was a Yellow Pencil in Illustration for Press & Poster Advertising for Ogilvy Singapore for its Faber Castell campaign
