The artwork and packaging for Disco Four, a collection of remixes by the Pet Shop Boys (featuring songs by The Killers, David Bowie and Yoko Ono) has been designed and art directed by Farrow, employing the photographic talents of John Ross. The album cover features a number “4” made with four fluorescent lighting units.
Part II of a diptych from Stillend Gespiegelt, 2006 by Esther Teichmann
Photographer Esther Teichmann’s first solo show has just opened at the Man&Eve gallery in London, running until 14 October. A graduate of Kent Institute of Art and Design and the RCA – and a CR Creative Future in 2005 – Teichmann’s Silently Mirrored show brings together a series of photographs and a double screen film projection…
Big Rocket’s Trim project is one of the Best in Book winners in Creative Review’s Photography Annnual, published with the October issue of CR, out this week
Big Rocket (aka James and Will) shot Trim, a charming series of before-and-after portraits, at a barber shop in Soho, London. “We are interested in the idea of how a person’s image changes through the process of a simple haircut,” say the duo.
Sandwiched between the grime of London’s Holloway Road on one side and the Islington Council dump on the other, Highbury Studios is not the likeliest site for a groovy showcase of contemporary imagemaking, but, if you happen to be in London, the Designersblock: illustrate show, on as part of the London Design Festival, is well worth a trip up the Piccadilly Line.
John Simmons & Harry Pearce’s poster
Showing as part of this year’s London Design Festival is 26 Posters, a project by 26, the not-for-profit organisation for people who “champion the cause of better writing in business and everyday life”, in association with outdoor advertising company JCDecaux. The project sees writers from 26 teamed with designers to produce pieces of artwork that will be displayed on 48-sheet billboard sites in London, Birmingham, Glasgow and Manchester.
United Visual Artists have brought their light installation skills to the promo for Tonto, the next single from acclaimed US band Battles. Produced by Warp Films, the 8-minute video sees the group performing amidst a sea of poles of light – each one responding to the fractured sounds within the track, which is taken from Battles’ recently released album, Mirrored.
Marc Craste, the director behind the beautiful short JoJo in the Stars and the recent Lloyd’s Bank ad campaign campaign, has created two new ads for Guinness to coincide with the Rugby World Cup.
The campaign, created by Bern Hunter and Mike Bond at Abbott Mead Vickers BBDO, is a straightforward one, and simply shows two opposing rugby teams pitched in an animated battle. Guinness is not an official sponsor of the tournament, yet the brand has managed to avoid breaching the official rights of the sponsor, Heineken, by creating animated players and therefore not featuring any imagery of real players. And quite lovely they look too. To view Guinness Play White, click here
Many magazines have employed “guest editors” in recent times – CR included. The October issue of Wallpaper*, however, goes a step further and recruits three of them: Dieter Rams, Hedi Slimane and Jeff Koons.
In the calm of Nottingham Trent University’s superb graphic design show at the Business Design Centre in London a couple of months ago, the atmosphere was regularly disrupted by the work of fellow NTU student, Callum Bain. He’d made an advert for a digital radio station; it was on his reel and he eagerly showed it to visitors every few minutes. Bain could have chosen any mainstream music genre for his particular radio station – but, instead, he decided to terrify people with gabba…
Design practice is booming in India, as evidenced by last week’s Kyoorius Designyatra conference, which attracted a glittering array of international speakers to rainy Goa.
New York Public Theater poster by Paula Scher
As part of the London Design Festival, Pentagram is delving into its not inconsiderable archive to host a poster exhibition featuring some of the finest work produced by its partners, past and present.
Creative Review has joined forces with Mute records and the Mercury Prize-nominated band, Maps, to offer readers the chance to have their work feature in gallery shows in both Manchester and London and on a special re-issue of Maps’ We Can Create Album.
Brands are saying sorry at a more rapid rate than ever. CR’s advertising columnist Ben Kay delves into why sorry is no longer the hardest word and whether this is an effective strategy for winning audiences
By loosening its approach to advertising, and engaging with its audience directly, the drinks brand has transformed with the times and won a whole new set of fans
Kelly Grovier’s new book charts the artist’s persistent dialogue with classic and contemporary art
We speak to Lego’s VP of global brand development Alero Akuya about the brand’s rare ability to straddle the physical and virtual worlds with ease – whether through its immersive new art exhibition in Paris or collaborations with Epic Games and Nike
The Pentagram partner has created the titles for the acclaimed new Netflix show, which reimagines the Greek myths in a contemporary setting
A new book from Reel Art Press collates the first comprehensive history of film posters. We explore why they remain an underappreciated area of cultural design
The Autumn 2024 issue of Creative Review looks at the brands and individuals who are pushing creativity forward on their way to the top
Mark Sinclair talks to the artist and designer about his new book, Lost Ordinary Magic, and the importance of recognising the power of simplicity and the everyday wonders that surround us
We explore how the 90s, an era the UK looks favourably upon for its thriving culture, are continually inspiring a stagnated creative industry
The band’s surreal new album visuals explore a darker, more grotesque side of romance. We speak to the creative team behind the campaign about challenging the visual tropes of rock music
As the &Walsh founder launches her agency’s new offshoot Type of Feeling, she discusses why typography’s ability to evoke emotions makes it one of the most powerful tools at a brand’s disposal
Kinda Studios is tapping into the emerging field of neuroaesthetics to help creatives and brands make more impactful work that benefits people’s wellbeing