In what’s shaping up to be something of an animation bonanza, the producers of the forthcoming 3D film based on the memoirs of the late Monty Python star Graham Chapman, have revealed the artists and studios who’ll be working on it…
Shown here is some of the artwork already created by Jock Mooney of Trunk, who will complete a section of the film alongside the following studios: Asylum Films, Made Visual Studio, Not to Scale, Treat Studios, Peepshow, Steven Lall, Sherbert, Superfad, Mr & Mrs Smith, Cake, Arthur Cox, A for Animation, Tundra and Beakus.
The 3D animated feature, made in association with Bill and Ben Productions Ltd, Trinity Films (UK) and Brainstorm Media, will tell the story of Chapman’s life as recorded in his 1980 book, A Liar’s Autobiography Volume VI. Bill Jones, Ben Timlea and Jeff Simpson of Bill and Ben will direct the film, which will be voiced by the remaining Pythons (bar Eric Idle) and incorporate audio recordings made by Chapman who died in 1989 aged 48. More details on the production are at projectchapman3d.com.
Also on the Trunk team are producer Richard Barnett with Layla Atkinson heading up the animation team. Compositors Rok Predin and Alasdair Brotherston will also co-direct the segment with Mooney and Atkinson.
The stereoscopic 3D film’s world television premiere will be in both 2D and 3D on the EPIX channel and on EpixHD.com in early 2012 and will be released in UK cinemas by Trinity. Expect a story on the CR blog once screeners are available.
“We’ve been working closely with the Chapman estate and the Pythons to make sure we get this exactly right,” says the film’s co-director, Jeff Simpson. “Graham would be delighted that his work is being re-imagined in glorious 3D. He always loved wearing silly glasses.”
CR in Print
Thanks for reading the CR Blog but, if you’re not also getting the printed magazine, we think you are missing out. This month’s bumper July issue contains 60 pages of great images in our Illustration Annual plus features on Chris Milk, Friends With You and the Coca-Cola archive.
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He’s collected original Wim Crouwel posters for years. Now Tony Brook is the co-curator of the Design Museum’s current exhibition on the Dutch graphic designer which runs until July 3…
Tony Brook of Spin and also Unit Editions kindly invited us into his home to reveal the extent of his admiration of the work of Dutch designer Wim Crouwel: the walls of his house are covered in framed original posters by the designer. In this film, made in collaboration with Order, Brook explains his enduring fascination with Crouwel’s work.
Wim Crouwel, A Graphic Odyssey runs until July 3 at London’s Design Museum. Read our post on the exhibition here.
CR in Print
Thanks for reading the CR Blog but, if you’re not also getting the printed magazine, we think you are missing out. This month’s bumper July issue contains 60 pages of great images in our Illustration Annual plus features on Chris Milk, Friends With You and the Coca-Cola archive.
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.
The Saatchi & Saatchi New Directors’ Showcase in Cannes is always a hot ticket, as much for its showmanship as the films shown. This year was no exception, as the agency teamed up with Warp Records to present a live light show extravaganza starring Jamie Lidell…
The theme for this year’s show was ‘Hello Future’, a concept devised by Saatchi & Saatchi’s senior creative team Jonathan Santana and Xander Smith. The production was a firmly collaborative affair, with Santana and Smith working with independent producer Juliette Larthe to create a theatrical opening to the show, featuring graphics by artist Mark Titchner and projected visuals by Aaron Meyers that responded to the movements of Lidell. Marshmallow Laser Feast also contributed, providing the titles and graphics for the ‘voice of the future’. A video of the opening is shown below.
The showcase itself contained film works by 17 directors. While all are relatively new to the ad industry (the official criteria for entry in the showcase being that their first film for advertising purposes was made after June 2009), for regular readers of the CR blog many should be familiar. Others are downright well-known: Daniel Wolfe, for example, has won much acclaim for his Plan B videos, and is unlikely to be new to many. However, there were nonetheless some treats to be seen. Here are a few of my favourites:
The Daniels
Andreas Roth, Dirt Devil
Neil Dowling/Nils Clauss
Andrew Ruhemann/Shaun Tan
Lernert & Sander
The General Assembly (eagle-eyed viewers will spot these last two from previous appearances on the CR blog, but both are too good to miss off)
The show also included the winner of the Saatchi & Saatchi and Vimeo music video competition, which invited young filmmakers to created a new promo for Moby, based on the Hello Future theme. The entrants could pick one of three tracks from Moby’s new album, Destroyed, to set their video to. The winner was Alberto Gomez, who will be offered the chance to work on “a project in a key office in the Saatchi & Saatchi global network”. His film is shown below.
The full list of films in the 2011 Saatchi & Saatchi showcase can be viewed online at youtube.com/nds.
The credits for the showcase event in Cannes are as follows:
Concept: Jonathan Santana and Xander Smith, Saatchi & Saatchi Producer: Juliette Larthe Video designers: Marshmallow Laser Feast Performance software creation: Aaron Meyers Performance artist: Jamie Lidell Voice and sound artist: Clark Graphics art director: Mark Titchner Set designer: Gary Card Animators: Andrew Osborne, Raffael Ziegler
Regular readers of CR blog will be familiar with the work of Belgian directing duo Pic Pic Andre, not least because of their quirky stop frame animated ads for Cravendale which featured a cohabiting cow, pirate and cyclist. The pair’s 2009 feature length stop animated film, A Town Called Panic, stars a similarly bizarre trio of cohabitants, namely a horse, a cowboy and a native American Indian. And a huge mechanical penguin. It’s getting an airing on Film4 tonight at 10.40 pm
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%.
Screening at the Open City festival in London this Friday is last year’s film about the German printer and publisher Gerhard Steidl and his intimate work with some of the best photographers in the world…
Gerhard Steidl is a fascinating character and a formidable businessman as printer, publisher and founder of Steidl in Germany. His love of the physicality of books saturates Gereon Wetzel and Joerg Adolph’s 2010 film (the trailer is here), but this doesn’t obscure his interest in where digital technology has taken photography.
Joel Sternfeld’s iDubai book, for example, is a series of iPhone photos of the city (spread shown, above) and it’s the production of this title that we see most of in How To Make A Book With Steidl, following its gestation from initial artwork meetings to the final, brilliantly garish binding.
The rest of the supporting cast aren’t bad either: Martin Parr, Robert Frank, Ed Ruscha (his handsome take on Jack Kerouac’s On The Road shown, below), Khalid Al-Thani, Robert Adams and Jeff Wall are all filmed in discussion with Steidl. Interestingly, we also see his work with author, Günter Grass, on a new edition of The Tin Drum.
What is evident throughout is Steidl’s restless drive to produce the best book he possibly can with each photographer; be it in deciding on the tackiest type of leather for the cover of Sternfeld’s iDubai, or which colours from the Qatari desert best suit the spines of Al-Thani’s ten volume paen to the landscape of his country.
Meeting up with Robert Adams at his home in Astoria, Oregon, Adam’s recalls a line by the critic John Szarkowski, where he compared photography to playing billiards: it’s what bounces off the edges that’s important, how it all interacts.
The image is resonant of Steidl himself, who can spend three or four days on the road, travelling back and forth to various meetings, which then generates many months of work back at the studio in Göttingen. Just how much he moves across the globe is hinted at in shots of his five iPods lined up on various airline’s fold-up trays.
How to Make a Book with Steidl, directed by Gereon Wetzel and Joerg Adolph (2010, Germany) will be screened at Open City, Malet Place in Bloomsbury, London at 1.30pm on June 17 (Screen 3; 88′). It is also showing with Doyald Young: Logotype Designer (see details below). Tickets are £5 and available to book here.
Other highlights of the festival include (texts are taken from the programme):
Steel Homes, Eva Weber, 2008, UK 8pm, June 16, Screen 1 (9’50”)
Self-storage units are windows into human histories: the silent cells with their discarded objects and dust-covered furniture are inscribed with past dreams, secret hopes and lives we cannot let go of. A poetic portrait of life at a self storage warehouse, Steel Homes explores the fragmented nature of memories, set in the starkly beautiful aesthetic of our modern industrial world. Showing as part of a UK Shorts Programme.
Utopia London, Tom Cordell, 2010, UK 5.30pm, June 17, Screen 1 (82′)
Today, London’s architectural icons are banks and office blocks that radiate their wealth. But there was once a group of idealistic architects who wanted to shape an egalitarian society through a concrete utopia. Now many of their buildings are being left to decay or are slated for demolition, but they remain extraordinary testaments to an attempt to an idealistic if controversial attempt to change the way people lived in our city.
Doyald Young: Logotype Designer, Scott Erickson, 2010, US 1.30pm, June 17, Screen 3 (41′). UK premiere
From humble beginnings in a small Texas town eight decades ago came legendary typographer, logotype designer, author and teacher Doyald Young. As elegant as his script fonts and as wise as his set of Oxford English dictionaries, Young sets the standard for his craft. He recalls the hundreds of iterations he went through in creating the logo for Prudential, and he puts pencil to tissue creating the pages for his next book about script lettering, Learning Curves. Young’s story is compelling, captivating, and most of all, inspiring. (Screening with How To Make A Book With Steidl.)
The Barbican Art Gallery in London has devoted its summer show to a celebration of animation, from The Lumière Brothers to The Simpsons. Here are some highlights…
The exhibition, which opened today, takes place across the large art gallery space at Barbican, and mixes familar names from the commercial world with pieces by contemporary artists who have been influenced by animation techniques. Its title, Watch Me Move, is inspired by Winsor McCay’s short from 1911, Little Nemo Moving Comics (still above).
The exhibition is divided into loose themes, opening with a section that looks at the early emergence of the genre. Included here are experiments with photography and science, as well as early cartoons, such as Walt Disney’s bone-chattering short Skeleton’s Dance, shown above, which was created in 1929 with Ub Iwerks.
Another delight is Winsor McCay’s Gertie the Dinosaur (above, from 1914), which appears within a brief history of dinosaur special effects in the exhibition, spanning from McCay’s delicate line drawing to Steven Spielberg’s use of emerging CGI technologies in the 1993 blockbuster Jurassic Park.
A large section of the exhibition is devoted to the much-loved characters that have been created via animation, with screenings featuring everyone from Bugs Bunny to Betty Boop, Felix the Cat to Homer Simpson. Be warned: hours of time may be lost here. Elsewhere, there are screenings looking at the notion of the ‘superhuman’ cartoon character, with a particular focus on Anime. The god-like nature of the animator is also explored through a number of films, including Chuck Jones’ fantastic, and surprisingly conceptual, Duck Amuck (1953), shown above.
Alongside cartoons, Watch Me Move showcases other animation styles, including stop-motion and shadow-puppets. Again, many seminal works are on display, including Ray Harryhausen’s The Story of Rapunzel (1952), shown above, which appears in an expansive section looking at the use of animation as a means to retell fables and fairy tales. The documentation of historical events via animation is also covered here: among the contemporary artworks are pieces by Kara Walker, who uses shadow puppets to tell political stories, and there are also excellent contemporary animated filmworks such as Ari Folman’s Waltz with Bashir (2008, trailer shown below) and screenings of Persepolis by Marjane Satrapi (2007).
The Barbican gets around the problem of such a screen-heavy show by the use of clever exhibition design, by Chezweitz & Roseapple. A multitude of different screen sizes are used; some encourage you to stop and linger in specially created booths with speakers installed, whereas others allow you just to wander through soaking up the multitude of imagery on display. There is also an expansive ‘cabinet of curiosities’ featuring examples of plates from cartoons as well as the original puppets and figures from a number of films. In addition, there is a display packed with enough vinyl toys to keep any graphic designer (or kiddie) happy.
The end result is a family friendly show, with films here for all tastes, child or adult. For the more hardcore animation fan, Watch Me Move offers the chance to rediscover classics of the genre, and also see the influence it has had on art, while for others it simply provides an excellent opportunity to while away a few pleasant hours watching cartoons.
Watch Me Move will be at the Barbican Art Gallery until September 11. There will be a series of talks, screening and events during the run, more info is at barbican.org.uk/artgallery.
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%.
PostPanic created the main titles for this year’s Offf Festival, which took place last weekend in Barcelona. The film depicts a bleak cityscape with the names of those speaking at the festival cleverly embedded into the gritty scenes.
The film premiered on the closing night of the festival, which featured speakers such as Aaron Koblin, Stefan Sagmeister, Vincent Morisset, and Rick Poyner. The names of all the speakers are subtly inserted into the film, appearing as grafitti on walls or on billboards, for example. See if you can spot them all!
Credits: Director: Mischa Rozema Story: Mischa Rozema, Si Scott Production company: PostPanic
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%.
Director Tom Kuntz is currently showing a film installation starring a group of exceptionally musical bugs at the Sydney Opera House…
Kuntz, who is well-known for his music video and ad work for the likes of MGMT, LCD Soundsystem, Cadbury’s and Old Spice, created the installation as part of the recent Vivid Live festival at the Opera House. He worked with LA music duo Lucky Dragons, who provided the audio component for the piece. Each insect generates its own unique sounds, using instruments ranging from the bongos to a Moog, and the bugs’ performances are looped at varying intervals, creating a constant, always changing soundtrack.
“I had been thinking of this idea for an installation,” says Kuntz of the project. “It originally came about when designing the creature for my MGMT video last summer (shown here). My mind started to wander into bug design. I started sketching unearthly bugs for fun. I liked the idea of them being large, over-scale, menacing, confrontational … the way a bunch of paintings confront you when you stand in a portrait gallery. When Steve Pav from Modular Records called and asked if I would contribute to the Vivid live festival in Sydney, this seemed like the perfect fit for it because of the musical component of the piece.”
In designing the installation, Kuntz began with the personalities of the bugs. “I had to write up my idea for the Opera House,” he says. “I did some preliminary bug sketches for this treatment which I assumed would be left at that. But then I ended up becoming very attached to the personalities of these early sketches and ended up using a lot of these first designs as the final bugs in the installation. I was quite concerned because I was working in very low resolution on these sketches and feared the quality of the bugs would never hold up. But with some clever tinkering at The Mill, they were good to go!”
“I contacted Lucky Dragons about doing the music and they were very kind and gave me access to their archives,” he continues. “I then went through them with my sound editor, William Flynn, and he broke the sounds down into suitable bits and put them all into the same time signature. We laid out performances for each bug, then I would equip each bug with the right instrument, and then The Mill animated each bug to the music.”
Shown here are three of the bugs from the installation. The full installation will remain on show at the Sydney Opera House until June 12, and Kuntz also hopes to tour it elsewhere in the future.
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%.
For the fourth year running Virgin Media is offering British film makers the opportunity to win up to £30,000 to produce their next film, along with executive production courtesy of the British Film Institute (BFI).
As part of Virgin Media Shorts, 12 shortlisted films will be selected to be converted to 35mm and shown in Picturehouse and independent cinemas nationwide. The films will be shown in rotation throughout the year before main features at the cinemas. (Shown above are the specially commmissioned posters for last year’s winners that were displayed at the BFI.)
The judges’ favourite overall walks away with up to £30,000 to produce their next film, while the ‘People’s Choice’ recipient gets thousands of pounds worth of new equipment.
This year’s panel of judges includes acclaimed directors Paul Greengrass (United 93, The Bourne Ultimatum) and Mat Whitecross (Sex & Drugs & Rock & Roll, The Road to Guantanamo) and the actor John Hurt.
The deadline for entries is 12pm on July 7. For full details and to enter your work, visit the Virgin Media Shorts site here.
And for a taste of the standard you’ll be competing with, Luke Snellin received a BAFTA nomination for Mixtape, his 2009 winning entry, whilst Oscar Sharp’s charming Sign Language – last year’s winner – is shown below (and was incidentally shot just outside of CR Towers).
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
