10 Latest news articles
- New designs from Inkahoots, Snask, The Partners & more
- Words of the Umbrella Movement
- CR December: The Photography Annual
- How our December cover was created
- Weight Watchers takes unusual approach with new ad
- The Times to screen Unquiet Film during Homeland ad break
- Epica Awards 2014: The Winners
- Eight of the best Christmas window displays
- TEDxAmsterdam launches the Human Clock
- How to land that dream job and more student advice
Source: Creative Review | Published: Thursday 20th of November 2014 05:29:00 PM
Our latest pick of new graphics work includes an open-source identity for an exhibition in Brisbane, branding for global education initiative #UpForSchool and a contemporary new logo for the Swedish Handicraft Association...
Source: Creative Review | Published: Thursday 20th of November 2014 04:46:00 PM
"No to Pre-selected Candidates" banner on a back-lit bus shelter advertising. Unintentionally combining the written banner with the calligraphic artwork of a property development artwork.
In a city where the majority of writing is finger scribbled on the screen of a smartphone, Hong Kong's Umbrella Movement has developed into an unexpected platform for handwriting and handmade typography.
Source: Creative Review | Published: Friday 21st of November 2014 10:48:00 AM
December's CR is a double issue and features our Photography Annual; 80-pages of the best in editorial, advertising, fashion, stock and personal work...
This year's Photography Annual (in association with Precision Printing) includes some fantastic imagery from a wide range of experienced practitioners and relative newcomers. We launched the special issue last night at the Design Museum and were able to celebrate the achievements of those whose work is featured in its pages and the seven projects which were judged Best in Book. Congratulations to all.
Flip the issue over, and up front in the regular CR half we look at how Precision Printing worked to produce this year's Photography Annual cover; take a look at the best of this year's Christmas ads; and look at the Barry Island climbing wall which doubles as an art installation. We also have Bagpuss as we 'almost' new him.
In the columns, Daniel Benneworth-Gray struggles to cope with two new demanding clients in his life ? a poorly wife and child; while in Logo Log, Michael Evamy explores the power of punctuation in branding ? on the back of the NSPCC's recent logo redesign.
Kicking off our main features, Patrick Burgoyne talks to designer Vince Frost about his new self-helf book, Design Your Life. In it Frost explains how the same design principles which work for clients can be applied to making our personal lives better.
Source: Creative Review | Published: Tuesday 25th of November 2014 12:04:00 PM
The cover of our December Photography Annual issue features a new digital finishing technique developed by Precision Printing that creates a high-build, super glossy finish
The two images from our Photography Annual which feature on the front and back covers of CR this month have been framed with a cross-hathc pattern that recalls Polaroid prints. In addition, the images themselves have been treated with a high-build finish that raises them proud of the surface of the cover paper.
The process, known as Lustre Enhancement, uses polymer to create texture and a high-build effect on designated areas rather like traditional UV varnishes. Unlike UV, however, it can be used to produce one-offs or, in combination with data files, personalised versions of each copy. The height of the polymer can also be varied across a sheet and the technique can even be used to produce foil-like finishes.
Precision created Lustre Enhancement using technology developed some four years ago by the Israeli firm Scodix. Our covers were initially litho printed and then sealed. Once they were dry, the Lustre process created the pattern around the frame of our cover images and the high-build effect on the images themselves. The area on which the finish was to be applied was stipulated by creating an Illustrator file, just as you would for a conventional UV varnish.
While Lustre is tough and resistant to the kind of wear and tear magazines endure both in binding and on the shelf, it is advisable not to apply it either right up to the edge of the sheet or where a sheet may be folded or creased. Otherwise cracking or peeling may occur. Because of the very high build of the varnish, we also had to use a different bindery to ensure that the copies ran smoothly through the process.
For the CR covers, "We pushed the technology very hard," says Precision sales and marketing director Simon Lythe who estimates that the job took between 40 and 50 hours on press.
While for our cover we have just applied the high-build effect to each cover image in its entirety, it is possible to pick out specific areas, just as you might with a spot UV. We could also have varied the height of the build across the sheet using different layers.
An effect similar to metallic foil can also be achieved by laying a sheet of silver laminate across the sheet before applying the high-build.
All of this can be personalised or done on very short runs: Lythe says that Precision do a lot of one-off jobs, for example, which just would not be viable using traditional UV varnish or foiling.
Although Lythe sees a great deal of potential for the technique in producing DM materials or personalised invitations, he says it is also being used for Braille printing as individual characters can be raised up from the paper surface, rather like embossing.
[Doing the Creative Review cover] is such a wonderful showcase for Lustre Enhancement," Lythe says. "We're really saying to the creative world, ?where can you take this next'?"
See more about Lustre Enhancement and what it can do at precisionprinting.com
If you subscribe now (details here) you will still be in time to recieve our December Photography Annual issueRead More»
Source: Creative Review | Published: Tuesday 25th of November 2014 05:33:00 PM
Our relationship with food is a complex one, as this new ad for Weight Watchers from Wieden + Kennedy Portland points out...
The spot is set to the light-hearted tune 'If you're happy...', though with the lyrics adapted to highlight the way our eating habits can be governed by emotion. It is an unusual approach by a dieting company ? whereas we are used to inspirational stories of how weight loss has changed lives, this ad explores (in a fairly cheerful way) some of the more complicated reasons why we might eat too much.
The timing of the launch feels unexpected too. We are usually flooded with dieting and fitness ads in January, after the season of indulgence has finished, whereas this spot is timed to appear just before Thanksgiving in the US, the traditional beginning of the holidays. It all adds up to a shift away from the 'quick fixes' normally associated with diets and instead offers a refreshingly honest perspective that addresses the difficulties people might face when trying to lose weight, rather than focusing on guilt or reinvention.
Agency: Wieden + Kennedy Portland
Creative directors: Michael Tabtabai, Jason Kreher
Creatives: Brooke Barker, Robbie Rane
Executive creative directors: Joe Staples, Mark Fitzloff
Production company: Epoch Films
Director: Martin De Thurah
Source: Creative Review | Published: Thursday 20th of November 2014 02:53:00 PM
The Times has bought an entire ad break on Channel 4 during Homeland this weekend to screen a short from its Unquiet Films series, documenting the kidnapping and return of foreign correspondent Anthony Loyd and photographer Jack Hill in Syria in May this year.
Bearing Witness airs on Sunday, November 23 and is the first of The Times' Unquiet Films to be broadcast on TV. Launched in June, the series ? a collaboration between News UK, ad agency Grey London and production company Betsy Works ? explores the historical and cultural impact of The Times and Sunday Times and the work of editors, journalists and contributors past and present.
The six-minute film features interviews with Loyd and Hill, who discuss their terrifying experience of being shot and abducted by a rebel group while reporting on barrel bombings in Aleppo. It also reflects on the role of war correspondents today, the importance of professional reporting in an era of citizen journalism and the training that photographers and writers must undergo before travelling to war zones.
Other films in the series, released on YouTube and via the Forever Unquiet website, include a look at the paper's history of investigative journalism, one on its typeface Times New Roman and another on the work of political cartoonist Peter Brookes (read our previous blog posts on the series here and here).
By partnering with Channel 4, The Times will ensure the film reaches a wider audience - it has only been viewed around 2,000 times on YouTube since its release, despite being a great piece of film - and Channel 4 says viewers will be able to interact with it through a microsite promoting subscriptions to the newspaper.
In a statement announcing the ad break takeover, Nick Stringer, chief creative officer at News UK, said: "Bearing Witness tells a powerful story, full of insight into the dangers journalists face in their endeavours to report the truth from hostile environments around the world ... Broadcasting this short film on Channel 4 in the Homeland slot is the perfect alignment of contextual relevance, brand fit and the reach of our target audience [described by Channel 4 as "upmarket and highly engaged"].
Homeland will be broadcast on Channel 4 at 9pm (GMT) on Sunday, November 23. See more Unquiet Films here.Read More»
Source: Creative Review | Published: Friday 21st of November 2014 04:59:00 PM
The winners of this year's Epica Awards were announced last night at a ceremony held in Amsterdam. There were big wins for BBDO New York, Leo Burnett Toronto, Publicis Conseil, 72andSunny Netherlands, and Leo Burnett Beirut...
The Epica Awards is the only advertising and design awards programme judged solely by journalists. This year's judging was held in Amsterdam, with journos from around the world flying in to offer their views on the year's top work. Five Grand Prix awards were given this year, with two pieces of work in the Digital and Integrated category receiving the top gong.
Epica has an increasingly global outlook, with the Grand Prix awards given to agencies in five different countries, across three continents. In total, agencies from 74 countries submitted work this year.
Now, onto the winners...
The Film Grand Prix was awarded to BBDO New York for The Boy Who Beeped, an emotional film that forms part of a series from the agency for GE. The ad fought off stiff competition from Harvey Nichols and Heineken, among others, to take the top prize in this coveted category.
The Outdoor Grand Prix went to Publicis Conseil in France for its elegant poster campaign to announce the reopening of Paris Zoo.
For the Press Grand Prix, the award went to Leo Burnett Beirut for its clever campaign for Virgin, which aims to highlight the injustice of music piracy by pointing out just out hard it is to write a hit song, using clever and entertaining infographics.
The first of the two Grand Prix awards in the Digital and Integrated category went to the juggernaut that is the Always Like A Girl film, which asks us to reassess our use of the expression 'like a girl' and turn it into something empowering rather than critical (while also selling some sanitary products along the way).
The final Grand Prix of this year's Epica Awards went to Night Walk in Marseilles, a project created by Google and 72andSunny Netherlands, which offers users a chance to walk the streets of the French city by night on their mobile, tablet or online, discovering many delights along the way. The case study film above explains the project in more detail.
Alongside the Grand Prix awardees, other big winners on the night included adam&eveDDB, which won Agency of the Year after picking up 30 awards across all the categories, including 15 golds. Network of the Year went to Leo Burnett, which won 92 awards in total, including 26 golds. And finally, Heineken was given the Brand Tribute Award, a new award for this year, in recognition of the brand's commitment to creating creative and innovative work.
In addition to the Grand Prix winners, lots of great work received golds, silvers and bronze awards at this year's Epicas. To view all of this work, go to the Epica Awards website, here.Read More»
Source: Creative Review | Published: Monday 24th of November 2014 03:48:00 PM
With Christmas shopping season well underway, department stores on both sides of the Atlantic have transformed their windows with elaborate festive displays: Harrods, Harvey Nichols and Selfridges' feature enchanted forests and fairy tale scenes, while Barneys' house live dance performances and intricate mechanical sculptures. Here's a look at the best we've seen so far from London, Paris & New York...
The theme for Harrods beautifully dressed windows is 'The Land of Make Believe' - described by the store as "a contemporary take on tradition, set against a Scandinavian landscape of silver birch trees, ice-blue skies and snow drifts."
Each window features a bespoke one-off item - from a spinning ballerina in a Swarovski crystal gown to a patchwork rocking horse by furniture brand Squint - alongside toys, miniature creatures and strings of fairy lights. White mice in waistcoats and dresses also provide a nod to the brand's stop-motion Christmas ad, which features a troupe of the tiny animals acting as Santa's helpers:
Images via Harrods
Selfridges festive display is this year inspired by the idea of storytelling: each window on its Oxford Street store depicts a different fairytale or children's fable "with a Selfridges twist". There's a golden goose, Hansel and Gretel outside a gingerbread house, a "not so ugly duckling" in a feathered dress and a trio of Rapunzels with dip-dyed pink hair. Each scene is lavishly decorated, and the store has also installed a two-tonne neon sign above the canopy overhanging its main entrance:
Images via Selfridges
Harvey Nichols has also adopted an enchanted forest theme this year - its windows feature hand-painted trees with metallic trunks and branches adorned with accessories, while mannequins wear metallic make-up and theatrical masks and head dresses.
Harvey Nichols says the windows took a year to plan and 600 hours to make. Janet Wardley, head of display at Harvey Nichols, says they are designed to create the illusion of standing on the edge of a forest, "which will entice you to look deeper into the woods."
Images via Harvey Nichols
Source: Creative Review | Published: Tuesday 25th of November 2014 04:45:00 PM
To promote the forthcoming TEDxAmsterdam conference, agency We Are Pi has created the Human Clock, a digital timepiece filled with faces from all over the world...
The TEDxAmsterdam conference takes place on Friday and includes speakers ranging from Greenpeace executive director Kumi Naidoo to fashion blogger Ari Seth Cohen. To promote the diversity at the root of TEDx, We Are Pi has created the Human Clock, an online 'experiment' at thehumanclock.org, which features faces uploaded from around the world. The aim of the project is to reach 24 hours worth of one-second faces ? around 86,000 individual visages ? by the time the conference launches.
The design of the site is simple ? visitors can upload a pre-shot image from their hard drive, or use a webcam to take a new portrait. The photo is then immediately added to the clock, where it appears overlaid with clock hands that feature the words 'tick tock' in various languages.
The images work best when they are newly taken, as the faces then appear aligned in the centre of the clock face and merge with the new portraits as each second passes. Some people have clearly just uploaded photos that make them happy ? hanging out with friends, for example ? which are less successful, but when you've got 86,000 images to reach, no one is quibbling.
The obvious comparison point for the project is Uniqlock ? an online clock that was a huge success for clothing brand Uniqlo back in 2007. Whereas that clock featured footage of dancers in Uniqlo clothes however, audience participation is an active part of this piece. Join in the fun at thehumanclock.org.
Agency: We Are Pi
ECDs: Rick Chant, Barney Hobson
Creative design director: Nessim Higson
Art director: Kaz Salemink
Film and photography production: 100% Halal
Director: Mees Peijnenburg
Digital production: Media Monks
Source: Creative Review | Published: Monday 24th of November 2014 09:12:00 AM