10 Latest news articles
Source: Creative Review | Published: Tuesday 11th of March 2014 02:45:00 PM
In its meticulous creation of the State of Zubrowka, Wes Anderson's latest film, The Grand Budapest Hotel, is a typographic treat. The film's lead graphic designer Annie Atkins was responsible for every graphic prop in the movie. We spoke to her about her work
CR: How did you get into working in film?
I worked in advertising for years, at McCann in Reykjavik, Iceland. Around that time I started writing a blog, too, which I began to enjoy much more than art directing. When I spoke to the creative director about moving on, he said he'd been reading it and was wondering if maybe I should do something 'with more emotion' for a while. At the time I was quite taken aback - emotion?! - but he was right, I think, and I left to go to film school in Dublin. It was there that I met Tom Conroy (production designer of The Tudors) and he introduced me to this whole new world of design. I'd had no idea that a graphic designer was so essential to filmmaking. Making graphic props wasn't something I'd ever considered to be a career until then.
Source: Creative Review | Published: Monday 10th of March 2014 05:30:00 PM
The latest issue of Little White Lies offers a look at the forthcoming Muppets: Most Wanted film. As well as some charming editorial illustrations, it features a series of classic movie posters that have been given a Muppets makeover...
The striking green cover starring Kermit the Frog (top) was designed by Cape Town studio Muti. Inside, section dividers and inside covers by Timba Smits reference the film's plot, in which the Muppets are suspected of taking part in a series of jewel heists while touring Europe.
There's also a spoof Kermit biography, Fifty Shades of Green, which charts the character's development since his on-screen debut in 1955 (illustrations by Nicholas John Frith):
Work from Patch D Keyes, Eliot Wyatt, Jordan Andrew Carter and HEDOF:
And a set of four posters celebrating the 35th anniversary of the first Muppets movie. Smits, Edgar Regalado, James C Wilson and Sam Taylor have each created a design based on a poster promoting another title released in the same year (1979) - from Mad Max to Apocalypse Now, Beneath the Valley of the Ultra-Vixens and and Amityville Horror.
James Wilson & Timba Smits
It's always a pleasure to browse the pages of a new Little White Lies but this issue is one of our recent favourites - each illustration offers a very different but equally bold, bright and funny take on the Muppets' quirky characters and rich visuals.
As Adam Lee Davies writes in the issue: "The very words [a Muppets movie] spark up an inner warmth that's part cosy fireside glow and part unsupervised firework display. As joyous, psychotic and surral as they are, the Muppets enjoy a unique position in the cultural heartland."
Little White Lies is published by The Church of London. Click here for more info or to order a copy.Read More»
Source: Creative Review | Published: Monday 10th of March 2014 05:20:00 PM
This ongoing landscape photography project from Hungary-based Daniel Kovalovszky, depicting various forest locations, explores the "faraway, ancient silence" of natural space.
With the Green Silence series Kovalovszky aimed to capture the feeling we often seek in woods, forests, and other wild or natural landscapes, as a place for stillness and calm, away from the noise of modern life.
Source: Creative Review | Published: Friday 7th of March 2014 04:15:00 PM
The toughest challenge for any charity is working out how to get your audience to empathise with your cause. In a new film to highlight the third anniversary of the crisis in Syria, Save the Children achieves this by asking us how it might feel if it was happening in London. The spot is our Ad of the Week.
Made by creative agency Don't Panic, the ad takes the format of a 'second a day' film, with a young girl recording a year where her life moves from middle class normality into the chaos of war. At 90 seconds-long, the shifts are subtle, with events in the background ? TV news reports and neighbours arguing ? offering the first hints of what is unfolding. Soon the effects of a spiralling situation are obvious in the child though: an excellent performance by the central actor sees her turn from a light-hearted girl celebrating her birthday into a child wracked with uncertainty and fear. The film ends on her next birthday, which is spent in a refugee camp.
The Save the Children film is shocking, although as some reports on it have pointed out, the experiences shown are still nothing like as horrifying as those that many real Syrian refugee children will have gone through. At ten million views and counting on YouTube, it has clearly struck a chord with the public, and with a clearly labelled 'how you can help' button displayed on the film, will hopefully also lead viewers onto the Save the Children site where donations can be made and other info is available.Read More»
Source: Creative Review | Published: Monday 10th of March 2014 09:39:00 AM
A new print campaign by Leo Burnett London for the charity Business In The Community features clever copywriting to try and raise awareness of the difficulties ex-offenders face in the job market...
The campaign, which is running in the UK national press, features three different CVs that on the surface appear normal. Read the text though, and it becomes clear that each actually portrays the inner thoughts of the person reading the CV, and that their prejudices against ex-offenders dominate over the skills the candidate has to offer.
The ads follow last year's film piece for BITC which featured a clever subversion of the Skip Ad button that appears on many ads on YouTube and similar sites (read about that work here). This print work, while more traditional, contains inventive copy to hopefully draw readers into the candidates' situation. At the bottom of the ads is a link to a website where readers can sign a petition to remove the tickbox asking about criminal convictions in job applications.
Agency: Leo Burnett London
Executive creative director: Justin Tindall
Creative directors: Adam Tucker, Hugh Todd
Copywriter: Adam Tucker
Art directors: Marc Donaldson, Lance Crozier
Photographer: James Day
Source: Creative Review | Published: Monday 10th of March 2014 11:05:00 PM
Graphic designer Peter Chadwick has launched a website dedicated to brutalism. This Brutal House will include a photographic archive of brutalist architecture and graphic design projects inspired by the movement.
The site is the latest in a series of conceptual and self-initiated projects from Chadwick - we covered his CMYK desk with built-in printing press last year. As well as a global architectural directory, it will include photographs of brutalist buildings around the world, research projects on brutalist architecture and logos, typefaces and poster designs that draw on brutalist aesthetics.
The site (built by Matt Flyn and Joel Baker) is currently a holding page, but Chadwick has photographed several buildings around London, including the Alexandra and Ainsworth estate in Camden, Pimlico's Hide Tower and Balfron Tower in Bow, and will upload images over the next few weeks.
He's also enlisted the help of photographers in New York, Los Angeles and San Francisco and is hoping to work with creatives around the world to build a global archive and launch commercial design projects inspired by brutalism.
Alongside his photographs, Chadwick will be selling several brutalist posters on the site, including a monochrome series:
And one depicting buildings in the London district of Thamesmead, which was built to re-home families living in cramped Victorian slums. Headline text is taken from original recordings and press coverage of Thamesmead from the 1960s and 70s, and the colour scheme is a reference to A Clockwork Orange, which was filmed there.
The full set of Thamesmead posters (24 in total) will also be produced in a newspaper printed by The Newspaper Club. "It is ironic today that some of those so called East London slums are now gentrified whilst Thamesmead a so called 'Town Of Tomorrow' remains unloved Read More»