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30 Aug, 2010

NEoN digital arts festival

Posted by: admin In: Creative Review

NEoN logo by Sooper DD

The North East of North (NEoN) digital arts festival that takes place in Dundee, Scotland has the theme of ‘character’ this year. It’s set to feature appearances from Akinori Oishi and Pictoplasma, with contributions also coming from EIDOS and tDR…

The seven-day festival runs from 8 until 14 November and consists of talks, workshops, exhibitions, screenings and performances at many of Dundee’s cultural, business and public spaces, including the city’s Centre for Excellence.

Confirmed speakers for the conferences are as follows:

Akinori Oishi
Pictoplasma
Chris van der Kuyl, Brightsolid
Tagtool
Ian Anderson, The Designer’s Republic
Nicholas Lovell, Gamesbrief
Al Mooney, Adobe
e4e Interactive entertainment
Chaos Computer Club
Kathryn Lambert, Folly
Ian Livingstone, EIDOS

You can find out about all the events on the NEoN website, plus the full programme of Salon and Conference events, can be found on the programme page. Tickets for all aspects of the festival are available here.

More at northeastofnorth.com.

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30 Aug, 2010

Stanley Donwood in San Francisco

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Forgot Was Sorry

Stanley Donwood, who is famed for the artworks he has created for Radiohead, is staging his first US exhibition from next week, at the Fifty24sf gallery in San Francisco…

 

The show, titled Over Normal, will include a series of paintings influenced by the vibrant colours he saw on a trip to California, and the contents of spam emails that he’s received. Writing in a newspaper that he has created to accompany the exhibition, he says: “The work that would eventually become Over Normal started in California, and maybe it will end there. I found myself in the Golden State once, back in 2003, trying to make an artwork. I’d just arrived, and I was with a well-known ‘rock’ band who had decided that they were going to record an album in two weeks. Similarly I was supposed to produce the artwork in two weeks. Ho hum. It was the first time I had been to the west coast of America. It’s an eerie place for a European; incredibly familiar from television and movies, inhabited by people who mostly speak the same language, but at the same time indefinably foreign. This foreign-ness, I thought, was at least partly to do with scale. Huge skies, huge buildings, huge highways, huge vehicles. Part of this massive scale involved the many advertising materials and traffic signage employed along the multi-lane highways that dissect the built environment.

Crazed American

“I was in the car with my notebook, and for something to do I was writing down what all those signs and advertisements had to say. I realised that they only used a very few colours and the colours were bold, brash, and used in very visually compelling combinations. I became convinced that about 90 per cent of the messages that flicked past my retinas were using just seven colours. I noted these colours down: red, green, blue, yellow, orange, black and white. All, I think, made from pigments derived from the petrochemical industry, the same hydrocarbon trade that has made the modern world, its complex and energy-hungry civilization, possible. I decided to paint using these colours, straight from the tub. There were all sorts of practical difficulties involving viscosity and opacity, but soon I had my palette, which I eventually referred to as the ‘California palette’.

 

Donwood’s studio, photographs by Ambrose Blimfield

Donwood used this palette in the artworks he created for Radiohead’s album Hail To The Thief, and has used it in a number of projects since. The colours work well with the words from spam emails, another form of communication known for its shoutiness. Combined, they make striking, and noisy, paintings that are difficult to ignore. “These paintings are like some kind of weird, blatant advertising,” writes Donwood in the newspaper, “advertising from a zone inside my head where words are enough and there doesn’t need to be a product to buy.”

 

Business Penis

The exhibition at Fifty24sf opens next Thursday, September 2, and will run until October 27. For those of you that can’t make it to San Francisco though, Donwood has made the newspaper available to download from his site (where you’ll also find his witty musings on blogging). Visit the site here.

 

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30 Aug, 2010

Five new typefaces from Conqueror

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I have a distant memory of my father holding up a sheet of paper to the light and showing me a watermark for the first time – I must have been about six. But I still remember the watermark – it was for Conqueror paper.

Now the long established paper range is having a bit of a relaunch aimed at printers and designers, and to promote this, its manufacturer Arjowiggins has not only commissioned a batch of attractive marketing materials full of illustrations by Seb Lester, photography by Thomas Brown and artwork by Tsang Kin-Wah – but it has also commissioned five new Conqueror typefaces designed by Jean François Porchez of French foundry Typofonderie.

Here’s a look at the typefaces and the promotional brochures and, even more unusually, some web films hosted on YouTube that support the Conqueror relaunch campaign – and which carry the strapline: “It’s not what you say… it’s how you say it”.

Introducing AW Conqueror Sans:

Below is AW Conqueror Didot:

AW Conqueror Inline:

and AW Conqueror Carved:

Carved comes in various layers allowing designers to use all of them together or just one or two layers at a time:

 

All of the five typefaces are available to download for free from conqueror.com – the idea being that Conqueror provides a portfolio of tools (as well as paper) for designers to use.

The paper range itself has grown to include a new range made from Bamboo – which is fast growing  and renewable; a selection of Print Excellence papers within the Wove and Bamboo ranges which guarantee faster drying times than the other papers and handles well complicated and creative prints and patterns; plus there’s a whole heap of new colours available in the Conqueror family of papers.

Here are those YouTube films I mentioned earlier, created by Reflex Group:

 

 

For more details about the Conqueror paper range – and to find out how to download the typefaces detailed above, visit conqueror.com

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30 Aug, 2010

A passport to Albion

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The new-look UK passport, unveiled yesterday, features a host of charming images of the isles and its weather systems. But far from reflecting an urbanised modern Britain, the new designs refer to the folklore of the past…

The psychedelic village scene above, for example, might look more at home on the sleeve of a folk rock album from the early 70s, but it forms the bottom half of the opening page of the new UK passport.

From the small selection of pages that we’ve seen, as issued by the UK Home Office press centre, it’s clear that a range of illustrative elements designed to evoke rural Britain have been incorporated into the document, which was created by the Identity and Passports Service’s product design team. Alongside the cottages above, there’s also some oak leaves and a native Chalkhill Blue butterfly (though any CR-reading lepidopterists, do correct me if I’m mistaken).

Of course, there are plenty of advancements in security features, too. For example, there’s a new transparent covering, which includes several holograms to protect the holder’s personal details, and there will now be two photographs of the passport holder on the official observations and personal details pages, shown below, which will move to the front of the document.

But check the detailing: it’s folk rock again – with a sea-faring lean! There’s a compass, cryptically placed on top of the passport bearer’s face, some gulls and a tern, and even an illustration of some rather choppy seas.

This being Britain, the weather is also a running illustrative theme across the passport’s 28 pages. Ahh, it appears to be cloudy again.

Other pages also feature well-known scenic gems including the white cliffs of Dover, the Gower peninsula, Ben Nevis and the Giant’s Causeway.

The new 10-year passport is set to be issued in October, produced under a £400 million contract by commercial security printers De La Rue.

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The music video that accompanies the release of artist Russ Chimes‘ debut EP of original material (he’s made a name for himself remixing the likes of Sam Sparro, Ellie Goulding, Chromeo and The Nightcrawlers), is actually a 15 minute film, divided into three instalments – the first of which is released online today…

Directed by 23 year old director Saman Keshavarz, through Beverly Hills-based production company Mighty8, the three part film tells the tale of love, loss and retribution. I don’t want to give the game away – but the first instalment, called Never Look Back after the track that forms its soundtrack, leaves you wondering what happens next…

Russ Chimes – Midnight Club EP (Part 1: Never Look Back) from Russ Chimes on Vimeo.

Part 2 is due to be released online next week and Part 3 the following week.

Midnight Club EP by Russ Chimes is due for release in October on label Eye Industries

Credits:

Director: Saman Keshavarz
Writers: Saman Keshavarz, Nate Eggert
Executive producer: Lanette Phillips
Producers: Francis Pollara, Saman Keshavarz, Romson Niega
Associate producers: Nate Eggert, Tom Lee
Cinematographer: Justin Gurnari
Editor: Nate Tam
Production designer: Julie Chen
Stunts: Ken Arata
Graphics: Cosimo Galluzzi
Label: Eye Industries (eyeindustries.com/blog)
Production company: Mighty8 (mighty8.tv)

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30 Aug, 2010

Sept issue: graduate special

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CR’s September issue is our graduate special, with profiles on seven new graduates making their way in the world of visual communications

Our graduate special features profiles on seven young designers and creatives who left college this summer. Portraits and cover by Melvin Galapon.

We have also dedicated our Grid spread and Hi-Res section this month to graduate work: featured here is Joe Luxton‘s Sunyata installation:

 

Elsewhere in the issue, we have a profile on Ultravox founder, designer, filmmaker, illustrator and perennial innovator John Foxx

And in Crit we have two pieces on data visualisation: Nicholas Felton accuses Barnbrook’s Little Book Of Shocking World Facts of making errors in its presentation of information

while Rebecca Pohancenik reveals that data visualisation, far from being a modern practice, has its roots in the investigations of 17th century scientists

Jeremy Leslie looks at why Roger Black’s Ready-Media project has been causing outrage among editorial designers

And Jörg Colberg reviews Invisible: Covert Operations and Classified Landscapes, a photographic investigation into top secret America

And Gordon Comstock wonders why advertising cares so little for its past

Monograph this month, our subscriber-only supplement, has had a change of paper stock this month to Curious SKIN Black. Our subject matter this time is the album sleeve art produced by Tony McDermott for reggae label Greensleeves (see our blog post here).

The September issue will be available from August 25. The back cover features work by one of our featured graduates, Simon Cook. This month’s cover was printed on Conqueror Print Excellence Diamond White 250gsm, supplied by Antalis.

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With the help of Google Earth, Jeffrey Tribe has discovered 12 human heads emerging from the British coastline, as presented in his project, Headlands

As a kid growing up in Suffolk, I well remember my mum noting somewhat bitterly, as we gazed at the Look East weather report, how apt it was that the East Anglian coastline resembled the features of a grumpy old man. Her opinion of the locals was yet to soften after our family’s move south in the 60s.

Jeffrey Tribe, it seems, has had similar ideas – not about the taciturn nature of East Anglians, but about the resemblance of some parts of the UK coastline to human faces. Tribe, who is senior graphics lecturer at Bedford College, has worked the idea into a personal project which uses Google Earth to present 12 ‘Headlands’ alongside short narratives based on the location in the form of cigarette cards.

Each image, he says, is exactly as seen on Google Earth, with no retouching. A selection is shown here:

 

 

 

 

 

 

 

 

 

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30 Aug, 2010

Designs on your money

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The work of “communists” or “tea-drinking fancy pants Limeys”? The reaction to studio Dowling Duncan‘s submission to the Dollar ReDe$ign Project proves that even speculative work on currency design is guaranteed to provoke strong opinion…

The studio’s designs for the $1, $5, $10, $20, $50 and $100 bills were submitted earlier this month to the Dollar ReDe$ign Project, the ongoing open submissions scheme organised by New York designer Richard Smith to rebrand the US dollar.

But Dowling Duncan’s designs, where each image directly relates to the value of each note, have put a fair few Republican noses out of joint – see here and here, for example – with some bloggers annoyed at British interference (despite the fact that the company is a bipartite studio with offices in Newark, England and San Francisco).

Aside from featuring the five biggest native American tribes ($5); the first 10 amendments (aka the Bill of Rights) to the US Constitution ($10); the 50 States ($50); and highlights from 20th Century America ($20); the designs proving the most controversial are, understandably, those with a more political bent.

Dowling Duncan’s proposal for the $1 bill features President Obama (the link to the note’s denomination is through Obama being the “first” African American president). And the $100 note acknowledges President Franklin Delano Roosevelt’s first 100 days in office, where his passing of unprecedented legislation attempted to combat the effects of the Great Depression during the first half of 1933.

Did the studio expect the designs to generate such a reaction? ”No, not really,” the designers maintain. “We wanted to challenge people’s perceptions about what the dollar should be or could be, but putting Obama on the $1 bill seems to be the major talking point.

“The general feedback about the design and content has been great, but there have been some who have reacted badly to it all. We appreciate people being extremely passionate about this and to change something which has been around for a such a long period of time takes some getting used to… We’ve had direct emails from people voicing their dismay and disappointment and messages left on our studio answer machine from people saying they would rather leave the States if our notes ever saw the light of day. The reaction personally towards Obama has taken us a bit by surprise.”

The set of six notes is unashamedly celebratory: the $20 bill celebrates 20th century America and features Buzz Aldrin, the grille of an old Ford, an early radio, for example. But, while speculative, clearly the other ‘achievements’ aren’t to everyone’s taste.

“When we researched how notes are used we realised people tend to handle and deal with money vertically rather than horizontally,” Dowling Duncan explain. “You tend to hold a wallet or purse vertically when searching for notes. The majority of people hand over notes vertically when making purchases. All machines accept notes vertically. Therefore a vertical note makes more sense.”

Dowling Duncan’s notes are also sized more like the Euro (the bigger the note the higher its value) and while the Greenback also currently sports that big purple digit (as reproached here by designer Michael Bierut) the studio’s redesigns are brightly coloured, decidely modernist and, perhaps of particular annoyance to some US bloggers, rather European looking.

“I think people appreciate our concept, like the design, format and general look of the bills,” say the designers. ”But it’s our choice of two democratic Presidents, whom some believe have not helped the US economy enough in it’s time of greatest need that has got people’s backs up – unintentionally we might add. Also some aren’t happy that a couple of ‘tea drinking fancy pants Limeys’* (as we were described) have had a go at redesigning their currency.”

*The eloquent Southern Beale blog nicely (and ironically) summed up the kind of reaction such designs might receive from more conservative bloggers, as being the product of “tea-drinking fancy pants Limeys”.

But has there been any feedback from Obama himself as yet?

“No, we’ve tried desperately to get to him but as you can imagine he is a hard man to reach,” say the studio. “We’ve been told by some good sources that he would have seen it, but for him to comment on it would really ignite the debate and bring Richard’s project to the forefront and into the mainstream. Also, he’s on holiday at the moment!”

You can submit your redesigns of the US dollar bills at Richard Smith’s website for the Dollar ReDe$ign Project. The submissions form is here. Deadline is 6 September.

More of Dowling Duncan’s work is at dowlingduncan.com.

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30 Aug, 2010

Xbox Halo: Reach advertising breaks

Posted by: admin In: Creative Review

The advertising for the new Xbox Halo: Reach game is hotting up with a big integrated campaign launched this week by AgencyTwoFifteen and AKQA. The campaign includes new short films, as well as, excitingly, a giant robot arm that Halo fans can play with via the internet…

 

The campaign is created by the same team that were behind the hugely successful Halo: Believe work, which won countless awards and set a new benchmark for integrated advertising. The Believe work moved away from the usual context for gaming advertising, and instead of featuring game footage, the ads were shot in a huge diorama built especially for the campaign, which depicted an epic historical battle. It proved to be a huge success, leading to Halo 3 becoming the fastest pre-selling game in history.

 

All of this makes the new Halo campaign something to watch out for. Will the team be able to top what they achieved before? The new game will be released in mid-September and serves as a prequel to the first three Halo games. Advertising for it first appeared in May, with a film, Birth of a Spartan, showing a young man being transformed into a Spartan III super soldier. The new website for the game, rememberreach.com, now features more films that take us further into the world of Halo: Reach. A trailer for the films is shown above, but visit the site to watch them in full.

 

More intriguing though, and perhaps the diorama equivalent for this campaign, is a real life giant robot arm which visitors can interact with via the site. By logging in via Facebook, Halo fans can contribute to a virtual monument being created by the robot in tribute to the Noble team of warriors, who defended planet Reach. As in the Halo: Believe campaign, the idea here is one of remembrance toward war heroes, a concept of course familiar from the real world, rather than just a gaming notion.

 

The robot arm is being used to place points of light contributed by users onto the website, which will slowly build up to form a sculpture made of light. The image will be complete by the time the game launches on September 14. This video on YouTube from Wired shows how the technology behind the robot arm works (and is in many ways more revealing than the website itself). As well as the light sculpture, the website also gives info about some of the characters in the game (see detail below).

 

If the Halo: Believe campaign is anything to go by, this is probably just the beginning of what Xbox has in store for us in terms of Halo: Reach marketing, so interested fans should keep an eye on rememberreach.com for more developments.

 

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Earlier in the year we blogged about Granimator – an iPad app that allows users to interact and play with visual assets created by a host of graphic designers, illustrators and artists.

Artists to contribute Granimator packs so far include the likes of Airside, James Joyce, Kate Moross, Buro Destruct, Yuko Kanatani and Pete Fowler - to name but a few – and now, Granimator developer, ustwo (who we profiled in our July issue) are set to host a free talk about the app and its development at London’s Regent Street Apple Store this Thursday, August 26…

As well as outlining the Granimator project, ustwo will be joined on Thursday by Airside, Kate Moross and Research Studios – who will all showcase their recently launched Granimator packs.

Creative Review will also be present and correct – to announce the imminent launch of a CR curated batch of Granimator artist packs, and to introduce artist David Henckel (one of the six CR pack artists) who will show his Granimator pack in action. More info about the CR Granimator project to follow in a subsequent post.

Join us at the Regent Street Apple Store in London this Thursday evening from 7pm-8pm

 

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