Miu Miu has teamed up with artist and filmmaker Miranda July to create a new app, Somebody, which allows you to send messages to friends and have them delivered, verbally, by a stranger nearby (who also has the app). I know, I know... you're thinking 'but when would I actually use that in the real world?' I was too, but then I watched July's quirky film to go with the app and suddenly this seems the way forward for all communication...
Perhaps wisely, the app comes with a series of 'official hotspots', where users are particularly encouraged to use it. These are mostly galleries so far (including Los Angeles Museum of Art, Walker Art Center in Minneapolis and The New Museum in New York), where one might expect something a bit unexpected to happen anyway or, if it's an opening, you might be a little bit drunk. Here's July's film though, which brings the app to life in entertaining fashion:
This year we've approached our graduate issue slightly differently. Covering the shows (and talent) on the blog, in print we decided to see just where a creative education can take you – from becoming production designer on Game of Thrones or Rihanna's creative director, to working as head of visual creative for Save the Children. The Shellsuit Zombie collective also present a guide to 'what next'; we explore what happens when advertising attempts to 'do good'; and, from new book TM, we finally get to the truth behind the creation of the Woolmark...
Opening the issue (and featuring on the cover and in Monograph), we look at artist Jim Lambie's new 100m long path in Glasgow designed to look like a shelf of records, and how it was made. Russ Coleman and Kirk Teasdale talk through how they constructed it from coloured concrete.
We also look at the controversy surrounding Penguin's new cover for Charlie and the Chocolate Factory, Stefan Sagmeister's recent take on creative types calling themselves "storytellers", and examine the Airbnb rebrand which, as Design Week's Angus Montogmery argues, could well become one of this year's landmark projects.
In the columns, Michael Evamy explores the trend for identities based on bespoke typefaces, potentially replacing logos altogether; while Daniel Benneworth-Gray looks at the way designers have been reprented on the big screen and decides that a Pixar animation might in fact give the closest approximation of what it feels like to work in the profession (it's not all like it is in Catwoman).
Shellsuit Zombie open our Grad Guide with a ten-point look at what the next stages might be for graduates who want to pursue a creative career...
... while our main graduate section looks at thinking beyond the agency or studio environment. We talk to six people with inspiring and unusual jobs and ask them how they got to be where they are today.
We start with Jess Crombie, head of visual creative at Save the Children...
... and then meet Gemma Jackson, production designer on Game of Thrones.
We also interview Clair Battison, senior preservation conservator at the Victoria & Albert Museum; Rachel Louis, arts participation manager at Vital Arts; and Brad Silby (below), Framestore lead animator on films such as Where the Wild Things Are and Guardians of the Galaxy...
... before talking to Simon Henwood (above), creative director for musicians such as Kanye West and Rihanna.
We also invite Grey ECD Nils Leonard and William Fowler, Headspace creative director and CR-columinst to a GoogleChat to debate what happens when advertising attempts to 'do good'; and feature an extract from TM, a new book looking at the history of 29 classic logos by CR's Mark Sinclair, which finally gets to the bottom of how the Woolmark logo came about in the mid-1960s.
In Crit, Rick Poynor finds much to pore over at this year's Rencontres D'Arles festival of photography...
... while Sarah Snaith reports back from a new exhibition at the De La Warr Pavilion dedicated to the work of US designer, Ivan Chermayeff. At the back, Paul Belford talks through a deceptively simple-looking print ad for the Guide Dogs for the Blind Association.
This issue's Monograph features some behind the scenes images of the creation of Jim Lambie's concrete path in Glasgow, with photographs of the process taken by Kirk Teasdale. The new issue is available to buy now. To subscribe to CR, go here.
Ikea has launched a new web catalogue for the Norwegian market, created by ad agency SMFB and production company MediaMonks. Based around a family starting their day, the site features lots of cute interactive moments, alongside lots of great-looking Ikea products, but is it enough to grab attention online?
The site is at engoddagstarterher.no, and is in Norwegian, though the English-language trailer below gives a flavour of what you'll find there. The website is also accompanied by a TV spot, here.
It forms part of a number of interesting digital approaches that Ikea has been experimenting with of late, including creating a catalogue website on Instagram and placing a 'digital flea market' on the brand's Norwegian Facebook page, to show its commitment to sustainability.
This new site aims to promote Ikea's renewed bed and bathroom collection, and focuses on a fictional family starting their day. The viewer follows the various characters as they wake up and do their usual morning activities, and can use the space bar to zoom into certain aspects of the site, such as an old-school platform game, or short films, including a Michel-Gondryesque sequence showing a girl flying on a home-made rocket (still top). At the end of the film section, we land on a page that shows all the products featured, with links to buy.
This is a charming version of a web catalogue, though my quibble with these kinds of websites is how to encourage people to engage with the film and the site in the first place. While other of Ikea's work online has appeared within a social media space that audiences might visit anyway, to find out about new products, this piece is more obviously an ad, and requires time and attention from the viewer to get its message across. Once on the website, users are rewarded with lots of interesting details to play with, plus the Ikea furniture certainly looks attractive within this picture-perfect home, but how many people will be invested enough in the brand to reach this point is open to question.
Credits: Agency: SMFB Creatives: Alexander Gjersøe, André Koot, Hans Martin Roenneseth, Hans Magne Ekre Designers: Stina Norgren, Nicklas Hellborg Motion graphics designer: Arnar Halldorsson Digital director: Christoffer Lorang Dahl Production company: MediaMonks Director: Tom Rijpert Post: MediaMonks Films, de Grot, Glassworks
Bombay Bicycle Club's hypnotic visuals for their recent tour made for a sensory-stimulating show, and they stood-out as the new experiential players at major festivals this summer including dreamy Suffolk weekender Latitude and the hedonistic paradise of Glastonbury. We talk to filmmaker Anna Ginsburg and video designer Adam Young about what it took to create the impressive stage aesthetic and why intensifying the audience's live show tingle is so important.
As part of the tour for Bombay Bicycle Club's latest, critically acclaimed 2014 album, So Long, See You Tomorrow, Ginsburg and Young, in collaboration with the band and lighting designer Squib Swain, created a series of hand-drawn looping images for 12 tracks.
Conversations began in part with the album cover (see below), which was designed by London studio La Boca, and inspired by the work of nineteenth century photographer and stop-motion pioneer Eadweard Muybridge, and his work using a zoopraxiscope - a device created in 1879 for motion-picture projection. In particular the band were struck by Muybridge's walking man cycle, which inspired the album artwork (and also features in the video for Alright Now), depicting a male and a female walking in concentric circles under the moon and sun.
"We thought this kind of ties in with the theme of loops there's a lot of cycles in the lyrics and the lyrical themes. It just worked." says vocalist Jack Steadman in a video on their website. "We started to base our artwork on animation. The front cover itself can be animated if you spin it around. It was only natural that we were going to try to incorporate that into our live show."
Ginsburg, who studied traditional animation at Edinburgh College of Art, had previously worked on three music videos for the band, adding hand-drawn elements to live action in Luna and Carry Me, and creating a BAFTA-winning stop-motion video for How Can You Swallow So Much Sleep. And Young studied lighting design at Central School of Speech and Drama, but soon realised he was more interested in video design, working mainly in theatre and opera since, with this project being his first departure into tour visuals.
"We turned up to their studio one day with books and pages and various different things and went through what would and wouldn't be possible. We had listened to the album, and they had sent a short brief with the type of thing they wanted to get across with the visual side of their tour," explains Young. "There was definitely the brief that it should look hand-drawn and shouldn't look like it was easy to produce on a computer. It should feel like a lot of time and effort has gone into making it, and shouldn't just feel like normal touring graphics. It should have some heart and meaning to it."
(Work in progress images)
Although it was the first time the duo had worked together, Ginsburg and Young's skills complimented each other perfectly. "It was a great collaboration, as he's got this real technical knowhow in terms of understanding how the projections will work, and because I'm so traditional, sometimes my process can be quite crazy impossible in terms of time. So once I'd figured out an animated loop, he'd often find ways of making it last longer in terms of content," Ginsburg says.
Alongside the duo, a small team of four illustrators helped to produce several thousands of images that made up hundreds of loops. These were drawn directly into Photoshop using Wacom Graphics Tablets, and created using the same Photoshop brush and line weight, with careful attention paid to stylistically match all the drawings so they appeared to be from the same hand, with Ginsburg directing and working on specific loops that required more design such as Feel, which features a snake charmer's snake, linking in with the old Bollywood song sampled in the track.
Young used Adobe After Effects for the animation process, which was almost plug-in free, and created the animations in seven circular disk templates that could be used for individual animations or as one long screen.
From storyboarding to final results, the project took an intense six weeks, with the team primarily working from studio based under a railway arch in Hoxton. Part of the process was ensuring one unified design direction, and creating bespoke content that fitted the themes and feelings of each track, which spanned from psychedelic morphing animals to dancing figures, to narrative based sections and even the band members' faces.
"We set ourselves design rules before we even started thinking about the ideas. It's something that we do quite a lot in theatre, to try to make a show look uniform across three hours, rather than lots of random ideas," Young explains. "We ended up with a very narrow colour palette, inspired by the album cover. And as much as it's going to be displayed on a digital form, we tried to pick colours that don't look too 'digital', to fit in with the hand-drawn organic feel."
Another rule involved the looping matching the music: "It linked nicely into the Muybridge style of 12 frame loop cycles, with everything looping over 12, 16, or 14 frames throughout the show," says Young.
And another restricted content to people and nature over inanimate objects or patterns: "There's so many tour graphics that are just swirly patterns - we were trying to make it about something real and trying to get across real emotions," he says. "You see a lot of shows that have really generic video, with a big LED wall and stock video content that's vaguely been arranged in time with the music. But I think people are turning their backs on that now, and starting to pay for bespoke content that actually means something relevant to the band and the music, rather than something that can be cheaply purchased off the shelf."
"I don't think abstract stuff is completely lost, but I think listening is the key," says Ginsburg. "If you're going to do something abstract make it really lyrically or rhythmically synced to the track. If it's just random, it's like wallpaper, or a screensaver - there's no point."
The resulting visuals are synced to perfection, played live using Timecode, so the music on stage corresponds with what the audience see and hear. It is this audio-visual, multi-sensory live experience that more and more musicians and their collaborative creatives are starting to experiment with, adding in another sensory layer to the performance, in hope of intensifying the live show euphoria felt by the audience.
"I think its going to become expected, the norm, that when you buy a ticket to a tour, you expect a certain level of visual stimulation. You could say it's a bit of a curse, because you don't want to be distracted from live musicians. But at the same time, if it's used well, it can heighten emotional reactions, or stimulate them,"says Ginsburg. "In a climate where we are used to having visual stimulation all the time, via the internet or via YouTube, our attention spans are getting shorter too. And you're more likely to make money from touring than record sales now, so the prices of tours are going up, and in turn our expectations are going to go up."
"We are going to see more and more of it. When someone pays to go to a festival or a gig, they are expecting more than the just seeing the band performing - they are expecting a full show," says Young. "It largely comes down to money, and bands being willing to put money into their shows - to initially produce something that people will want to come and see, and I think it's going to become increasingly important."
Ginsburg says this is the biggest budget she has ever had for a project, and recognises a continual shift towards money being spent on live shows rather than music videos. "To be honest I don't see budgets for music videos increasing ever again - it's going to be about being ingenious and economic when directing music videos. People will be more willing to pump resources into tour visuals, because its what makes money," says Ginsburg. "I think there's always going to be a place for music video. But instead of making one stand-out viral video, artists are now more inclined to want everything they put on YouTube to have visual content, so quality might go down. But I think quality of live shows will increase."
It's is often the sense of a 'visual hyperreality' that wows the audience - where real and simulated elements merge, and artists push the boundaries of the live experience. "Personally I love Beyoncé, and her absolute commitment to the design idea, and seeing it through to the extreme," says Young, referencing her performance for 2011 MTV Awards using interactive projection and strict choreography. "It's artists like that who buy into the idea so whole heartedly that they will shape an entire show around it."
"I'd love to do the visuals for something super crazy like MIA or Dizzy Rascal or someone who takes risks visually - an artist who doesn't take themselves too seriously, because you could do some really out-there stuff," says Ginsburg.
So as budgets and priorities change, so too does the way we consume and share our experiences of music. Long gone is the era of MTV, and the visual emphasis has shifted towards the audience's experience being a key element for a musician's success - whether a live encounter or through sharing the spectacle.
"There's that other layer to the live shows - the more people get out their phones because they think its worthy of filming, the more promotion you get," says Ginsburg. "On the [non-festival] tour, the visuals come in half way though the set, there a little sleeping man that rises with dandelions either side of him, and as he appears, at that moment, a sea of iPhones appeared. Normally, I just watch my work on a tiny screen - just that so many people are interested, it was a cool moment," says Ginsburg.
"I think it's part of it - after the shows it you search Twitter or Instagram, its full of pictures of the band with projection," says Young. "It's a nice feeling that people have noticed it and think of it being part of the show and part of the Bombay Bicycle Club experience that they've seen that night."
Favorites for the duo include Home by Now, depicting a female figure dancing, which was one of the animations that had been through several changes from a clubby dancing vibe to Victorian women twirling with parasols and back again (initial sketches and final animation shown above).
"It was one of the tracks that we wanted to do something playful with. We had this Beyoncé thing happening and made it really silly," says Ginsburg. "Some of the visuals are trying to communicate that euphoric, generally laid-back ambience that's so characteristic of Bombay Bicycle Club. But this is the only one I've heard with a slightly hip-hop beat so we thought it would be funny."
Carry Me was another favourite, often used as the finale, with dancing figures and faces in black and white, flashing to match the extensive build up of strobing. It is moments like this and other simple techniques like animating stars falling at speed, that intensify the audience's experience. There was certainly something pretty epic about this as the sun went down at Latitude - the timing was just right, and the skin-tingling energy spread from screen and stage, out across the field.
"There's something spectacular about festivals," says Ginsburg. "There was a moment when I saw the show at Glastonbury, and during Home By Now there was a laugh. It was a career highlight for me - hearing people actually react and being able to hear their reaction to your work on that kind of scale was really cool."
These are the type of visuals that work particularly well in a festival setting. The fact that they 'mean something' as the duo describe, seems to encourage a stronger connection between the audience and the band. Maybe it's the heady atmosphere, the throng of a massive crowd, when eyes are wider and ears more eager - the environment melds perfectly with audio-visual delights on this scale.
Inspiration images: (top row:) Eadweard Muybridge; (second row:) Suehiro Maruo Molg H; Johannes Kepler; (thrid row:) Katie Scott; (bottom row:) From The Japanese Popstars Let Go video; Luke Pearson.
Earlier this month, creative charity Ideas Foundation invited CR to the finale of its Creative Media Camp: an annual week-long summer scheme giving 15 to 19-year-old students a taste of advertising...
The Creative Media Camp is open to students at schools and colleges across London. Each year, students are given a brief set by a sponsor (this year's event was sponsored by Sony) and a week to devise a creative campaign.
The camp is based at Chelsea College of Art and Design and students are mentored by tutors and industry professionals. Staff from BBH, WCRS, Creature and Dare hosted workshops on developing and pitching ideas and at the end of the week, students presented their final concepts at Sony Pictures' London head office.
This year's brief was to devise a campaign that would persuade 'Generation C', defined as 18-34-year-olds, to buy and rent films or TV shows from Sony Pictures - a tough challenge considering most in this age group are happy to stream or download content or subscribe to sites like Netflix.
Thirty five students took part and were divided into five teams, with each group asked to create a "shareable" campaign, as well as an ad, social media strategy and presentation explaining outlining their research and thinking. Pitches were then judged by Sony and Ideas Foundation staff, with prizes awarded to the team behind the winning idea.
The results included some witty and creative responses and this year's winner was SofaSync: an app allowing friends who live apart to jointly watch or rent Sony films or TV shows and watch them simultaneously, interacting throughout. The team created a logo and ad for the app and suggested staging screenings in famous cities using a giant sofa to gain publicity.
Another group suggested an app that enabled users to create, upload and share their own Vine-length remakes of scenes from popular Sony Pictures films, and created their own amusing take on a shoot-out scene from action comedy Bad Boys to demonstrate.
Other concepts included an augmented reality app rewarding people who purchased DVDs with extra features, prizes and discounts; a 'selfie' campaign encouraging Sony viewers to photograph themselves in front of scenes from Sony films and a movie-themed mobile game, with levels inspired by various Sony Pictures titles.
The programme is one of several mentorship schemes launched by the Ideas Foundation, which was founded in 2003 by WCRS co-founder Robin Wight. The charity was set up to help young people from minority or disadvantaged backgrounds "whose creativity hasn't been recognised" gain an insight into and experience of working in the creative industries.
As well as the Creative Media Camp, it runs a similar project, I Am Creative, in more than 30 London schools (you can read our feature about it, published in July 2013, here) and students who take part in either scheme are also invited to join The Ladder, a progression programme which arranges brief work placements and visits to creative agencies in London and Manchester. The charity's work in the North West includes Incubate, a partnership with the Comino Foundation giving pupils the chance to work on advertising, fashion, animation, broadcast media and gaming projects.
The Ideas Foundation also aims to increase diversity in advertising and in 2012, launched a film to encourage debate about the lack of ethnic minorities in ad agencies: according to a 2011 IPA report, more than 90 percent of ad industry staff are from a white background and 90 percent of communications campaigns are created by men.
Watching students' presentations at the Creative Media Camp, it was clear they had enjoyed the programme and learned some valuable skills throughout the week. Delivering a pitch to a room full of your peers and professionals is a daunting task at any age, but students were confident, enthusiastic and professional when presenting and as well as learning about the process of making a campaign, they gained experience of team work, problem solving, creative thinking and public speaking - useful skills to have in any job.
It's a great programme and one that charity is keen to expand, with Wight telling CR last year that the charity is now aiming to work with 100 brands and agencies.
The BBC unveiled its first interactive episode online last night as part of new World War One Drama, Our World War. Using animation, original footage and multiple choice gameplay, it forces viewers to make some difficult life and death decisions...
Our World War is a BBC3 drama inspired by the channel's award-winning documentary, Our War, which captured the daily experiences of soldiers in Afghanistan using helmet cams and point-of-view footage. The show is based on real events and accounts from World War One survivors, but characters are fictional.
In the interactive episode (watch it here), viewers are placed in the role of Corporal Arthur Foulkes, who is forced to lead the remaining members of his battalion at High Wood, part of the Battle of the Somme, after his commanding officer is shot and killed.
The experience begins by outlining the soldiers' position before cutting to an audio excerpt from a High Wood survivor, followed by scenes of the characters rushing into battle. Players are then forced to make decisions such as whether to shoot approaching soldiers or hold fire, whether to kill or capture an injured German soldier and how best to deliver a message to HQ.
For each question, viewers are given a choice of answers and a time limit in which to decide, with each choice affecting the outcome of the drama. The episode is split into short acts and at the end of each, viewers are given a summary of their performance and scores for tactics and team morale. Each act also unlocks a new spin-off story about one of the soldiers featured, told in a graphic novel-style animation.
Footage throughout reflects the style of the TV show, with quick cuts and POV shots adding to the sense of panic and fear. The narrative is brief but poignant and viewers are introduced to each soldier through on-screen graphics revealing their name, position and personality traits. The experience lasts around 20 minutes.
The project is part of the BBC's new digital learning platform, iWonder, which we wrote about in our March issue and on the blog. In an article for the BBC, executive producer Tim Plyming says it was inspired by games such as The Walking Dead, based on Robert Kirkman's comic book series about a zombie apocalypse and Operation Ajax, an interactive animated spy thriller.
"We wanted to experiment with creating a new format that could bring audiences even closer to the story ... by using techniques found in modern gaming experiences we have set out to create something very new, a hybrid between a TV programme and a game," he adds.
The episode was created in partnership with BBC Learning and Open Games and Mi, a CGI, games and animation studio based in Salford. Will Storer, a senior product manager at BBC Future Media Games who worked on the episode, says one of the biggest challenges was developing a gameplay system inkeeping with the narrative's sombre tone.
Using historical records and eyewitness accounts provided by producers and academic advisors, Storer says the team developed a series of flow charts to establish how the narrative and choice model might work.
“Based on these flows and story dissections we put together “Tempo” charts to explore how a specific speed of user interaction might map across onto the pace and tone of the story at any given moment. Is it more compelling if during a tense, pacy point ... the user needs to decide quicker? Is that approach more immersive? In the end we ended up with a balanced set of interaction times relevant to the narrative and the decision at hand,” he explains in a blog post.
The on-screen graphics are simple and intuitive, as Storer says it was important to ensure they didn't overshadow the narrative, while the scoring system needed to be respectful and informative.
"In this context, straightforward game scoring didn’t feel appropriate ... The sensitivity of the subject matter combined with the desire to achieve learning outcomes along the journey meant that we needed to treat this aspect with great respect," adds Storer.
"The interesting discovery here is that militarily correct tactical decisions don’t always create positive morale in the team, so scores whilst accurate, are somewhat unexpected depending on the scenario, an outcome which we thought reflected well on the hellish situations depicted within the story itself," he says.
A century on from the war, and with no veterans alive today, conveying soldiers' experiences to a young audience is a difficult task. But by combining drama and gameplay, the BBC and Mi have created an educational and compelling piece of content.
It does feel more like a gaming experience than a TV programme but is a great example of how today's technology can be used to illustrate historical events - another was last year's D-Day: As it Happens project (from Channel 4, Windfall and Digit), which used a social media-style timelines to relate the day's events in real time through the perspectives of seven people who were there.
With BBC3 due to move online, projects like this could become an important tool in attracting and engaging with viewers, and Plyming says it's something he'd like to see other broadcasters and channels explore.
"This is a real first for the BBC and we hope this pilot will inspire creative communities inside and outside the BBC to think up new ways of delivering drama to an audience who demand higher and higher levels of interactivity," he adds.
Animation production company Golden Wolf has created a new film for Nike charting the evolution of the brand's trainers and football boots. Created using CGI, 3D scans and original photography, it features over 200 pairs of shoes from the 1970s to the present day...
The film was commissioned as part of Nike's Genealogy of Innovation campaign and was released on social media. Earlier this year, the brand launched a book, website and exhibition charting the development of its shoes from a 1971 football boot to current models, the Magista and Mercurial Superfly.
The website defines six key 'chapters' of Nike history: Genesis (1971-94); Reformation (1995-8), Golden Years (1999-2002), Enlightenment (2003-6), Renaissance (2007-10), Transformation (2011-13) and Revolution (2014).
Golden Wolf was asked to create an animation to convey each era and developed a two-minute spot made up of seven different films. Each has a distinct look and feel, representing the aesthetics of the period or the technology that defined Nike shoes made at the time:
The first chapter, Genesis, features images of early Nike shoes against photos of stadiums, urban streets and playing fields, with each background representing the intended use for the shoe pictured. Visuals have a vintage, aged feel, reminiscent of Super 8 film, and backgrounds were shot at locations in London, Portland, New York and Amsterdam.
In Reformation, trainers are arranged against bold blues, greens and pinks, while the final instalment, Revolution, uses laser like strands to reflect Nike's flyknit technology. In Golden Balls, football boots are pictured alongside CG balls and shapes.
"The [Genealogy of Innovation] website presents a family tree of Nike shoes and how they connect - how tech from one shoe will be used to build another. The purpose of the film was to show that evolution and journey from A to B," explains creative director Ingi Erlingsson.
"Nike had scanned every one of their key shoes for the website, so they gave us these assets and asked us to figure out a way of displaying them that would tell their story. It was very important for each era to have a different narrative," he adds.
As well as impressive visuals, the film features some great sound design by Bristol studio Echoic Audio. Sound changes with each chapter to reflect the relevant time period, but each track flows seamlessly into the next.
"The plan wasn't originally to create wholly different films [for each era], so the biggest challenge was putting something together that had all these different approaches," explains Erlingsson. "It was like managing six projects in one," he adds.
CR's pick of current and upcoming exhibitions, design events and creative activities including Beacons Festival in Yorkshire; Jeremy Deller in Bristol; Lucy Sparrow's Corner Shop in London; illustrator Tom Frost and 3D paper artist Sarah Bridgland at Yorkshire Sculpture Park; Chicago Design Museum's first show in their new home, Starts/Speculations; and Antoine de Galbert's Le mur in Paris...
Beacons Festival Heslaker Farm, Skipton 7-10 August 2014
The lovely Beacons Festival returns this weekend to the glorious rolling hills of the Yorkshire Dales, drawing creative folk from around the country to enjoy another joyous weekend of music and art.
Joining Jon Hopkins, British Sea Power, Daughter, East India Youth, XXYYXX, Toy and a whole lot more from the music line-up, there's plenty of arts and culture alongside. Dawsons Arthouse returns, with a programme curated by independent Leeds book store and gallery Village, bringing together creatives from a variety of disciplines, including Olio Studio, Last Straw Collective, Preston is my Paris and Mates. There'll be exhibitions, Q&As, film screenings, and workshops including sign painting, screen-printing, zine making and street photography.
The Print Project also return with the chance to screenprint your own Beacons poster, plus have your portrait drawn in the Artomatic illustration photobooth. Keep an eye out for experimental audio-visual work Arborescent using ‘graphic scores'; outdoor visuals and projections from AV specialists Lumen; and other art installations and indie design stalls around the site.
Click here to check out our round-up from last year. It's set to be another magic weekend for party-goers and families alike. Day passes (which include a night's camping) and weekend tickets are still available here.
Jeremy Deller: English Magic Bristol Museum & Art Gallery Until 21 Sep
Previously exhibited as part of the Venice Biennale exhibition last year, and following a stint at Walthamstow's William Morris Gallery, Deller's English Magic comes to Bristol. Mixing large-scale murals, installations, drawings, photographs, film and historical elements, the exhibition explores the artist's interest in the nature of English culture, from politics to Ziggy Stardust.
Deller also works with each venue to present the exhibition in a way that is specific to that space, with Bristol including paintings of the 1831 Bristol Riots by William James Miller and a display of taxidermy. After Bristol, the show will tour to Turner Contempory in Margate (11 Oct - 11 Jan).
Lucy Sparrow's Cornershop 19 Wellington Row, London E2 7BB Until 31 Aug
Over 4,000 felt versions of grocery items fill this formally derelict shop in Bethnal Green - sweets, fish fingers, cigarettes, toilet roll, newspapers, condoms, ice lollies and more, even the till and functioning pricing have all been hand-sewn by Sparrow over the last seven months.
Everything is for sale, (but stays in the store for the month), and workshops run alongside, including fluffy drinks cans and stitched crisp making - click here for dates..
Starts/Speculations: Graphic Design in Chicago Past and Future Chicago Design Museum Until 30 Sep
Having recently relocated to a new permanent home this June (after a hugely successful Kickstarter campaign), the Chicago Design Museum celebrates 100 years of design activity in Chicago with the first exhibition in the Block Thirty Seven space.
The show aims to be "an anthology of work from Chicago's graphic design legacy and a glimpse into how the tools we use to design and communicate could evolve and influence our interactions in the future". Archival pieces come from AIGA, Bauhaus Chicago Foundation Archives, and many others, plus a variety of new work from emerging design studios.
The Wild Collection by Tom Frost and Drawing with Paper with Sarah Bridgland Yorkshire Sculpture Park Tom Frost until 7 Sep Sarah Bridgland 13 Sep
There's always some lovely stuff to see and do at Yorkshire Sculpture Park in every season. Currently in Garden Gallery there's work from illustrator Tom Frost, with The Wild Collection, inspired by YSP's historic landscape and varied wildlife. The show includes collectors cards, school charts and specimen matchboxes, plus a limited edition screenprint, Ram Brand (above left), created especially for YSP.
Next month, join artist Sarah Bridgland for a workshop on 3D collages (above right), with shapes, objects and textures inspired by YSP gathered after a stroll around the park (below).
Le mur (The wall) La Maison Rouge - Fondation Antoine de Galbert, Paris Until 21 Sep
As part of its tenth anniversary more than 1,200 works from founder Antione de Galbert's private collection are being presented in a 3m high, 200m long ribbon around the walls of the foundation.
A computer programme was used to curate the show, with the size and inventory number as data, with paintings, videos, sculptures, sketches and anything that can be hung collected together in one vast unending frieze. The unconventional presentation, mixing the likes of Anders Petersen, Eadweard Muybridge, Gilbert & George, Jan Fabre, Hans Bellmer, Jochen Gerner and many more, aims to "raise questions about the actual art of collecting, hanging, storing and showing art".
Awkward dancing, creepy breathing and just plain weird antics from Bowie, Jagger and Presley to name a few... We chat with the man behind the magic of Musicless Musicvideos, YouTube sensation Mario Wienerroither.
Stripped of their original audio and remixed with reimagined sound effects and noises corresponding to the action, Wienerroither transforms classic pop music videos into ridiculous scenes where bands and musicians appear like strange, drunk people who you'd avoid in the street.
Occasionally uncomfortable but always humorous to watch, Wienerroither's editing somehow mutates any sense of cool, into try-hard, jarring spasms and awkward squeaky footsteps, accompanied by bizarre human grunts, sneezes, slurps and giggles.
It all started back in 1997, with a trailer for Men In Black. "Back in the 90s before university, I experimented a lot, making trailers, music videos and movies all without music and computer game trailers with new sound," he says.
After university, he came back to experimenting after seeing Queen's I Want to Break Free on TV with the sound muted. His final musicless version plays on the domestic element of the action, and is even more surreal than the original.
Narrative and location variation are important when it comes to choosing videos for the Musicless project - elements that help him to achieve more obscure results, where ambient sounds and actions are sharply cut. The musician's performance is also key, with any cool or edgy vibe quickly turning into something more ominous or simply laughable.
Check out Prodigy vocalist Keith Flint's flailing body with added signature sneezing in Breathe and Firestarter; Elvis Presley's aggressive on the spot scuffling and giggling in Blue Suede Shoes; and Bowie and Jagger - two serious dudes - completely losing it in Dancing in the Street, grunting and sidestepping as though they are in some kind of dodgy workout video.
Almost all of the sound effects are created by Wienerroither himself, working from a personal sound library that he has created over the last few years. When recording outside he uses a Tascam DR-100 field recorder, and in the studio he has a range of instruments, but says that the most important aspect is the editing software (Cakewalk Sonar) and various audio plugins.
"As soon I have the sounds on my computer the real creative work begins (since I record every sound several times and have to sort everything out), then I watch the video, and decide which sounds may fit best," he says. "There's always more than 200 single sample snippets per project, with multiple sound effect plugins running simultaneously over them."
Aside from the musicless projects, Wienerroither also produces sound design and music for films, ads, computer games and bands (through his company Digitalofen Audiobakery). And he's also recently been working on a new Silentless Movies project, adding sound and bits of dialogue to silent films.
"With Nosferatu I wanted to start this new Silentless Movies project. Since almost no-one watches silent movies anymore, I thought this would be a good way to make them somehow attractive for a younger audience again," he says. "My first one would have been a Charlie Chaplin movie, which I finished three months ago, but I couldn't get the permission to broadcast it as Chaplin's movies may only be accompanied by the full symphonic score and nothing else."
Response on YouTube to his work has been pretty immense so far, with many of the videos hitting over 1.5m views each, snd some only having been up for a month or so. But he's yet to hear from anyone featured so far: "It's a pity, but no. I hope they aren't offended," he says.
Incase you still haven't got your hands on the August issue of Creative Review - a CGI special - and you fancy some extra videos and exclusive images on the side, remember you can also get it on the iPad. You'll find all the print mag content and monograph, plus a whole lot more in Hi Res, our showcase gallery section, and CRTV, with some amazing moving image work, from interviews to animations to short documentaries and more...
The Features section of this month's issue includes designer Carl Burgess making a case for digital imagemaking as an antidote to our nostalgic obsession with the handmade; a look at Worship, a film for UNKLE by Warren du Preez, Nick Thornton Jones and the team at VFX house Glassworks, which pushes digital techniques to the limits (above right); photographer Giles Revell who uses hi-tech processes to re-present traditional artistic subjects; and self-taught 3D artist Ben Koppell (below left).
Plus, Disobedient Objects at the V&A; Digital Revolution at the Barbican (above right); Folk Art at Tate Britain; the history of RCA's Ark magazine; AKQA's Nick Turner on Google's new Material Design guidelines, and more...
In Hi Res you'll find posters from the Graphic Advocacy show (below left); unseen images from the Bowie / Duffy collaborative photo shoots (above left); Monotype full stops from the archives as part of the Century exhibition; photos playing with fakery and narrative from Joan Fontcuberta's Stranger Than Fiction show (above right); new work from illustrator Shaun Mills (below right); A Portrait of Hackney by photographer Zed Nelson, and highlights from Broomberg & Chanarin's Divine Violence exhibition.
CRTV includes an interview with typographer Erik Spiekermann; a behind-the-scenes look at Mikey Please's remarkable Marilyn Myller animation, plus the full film (below right); Stephan Jose's documentary about The Artisan Press; The Putter by Shaun Bloodworth, a portrait of one of the few remaining scissor manufacturers in the world (below left); Doug Hindson's Frisson, a tense, award-winning short about thrills; the Sandman as part of Stella Artois's Perfectionists series; and a selection of new CGI shorts from Supinfocom Arles 3D Animation School.