In a radical shift in its business model, Getty Images is now allowing users to embed watermark-free images on websites and blogs free of charge
An option to "Embed this image" has been added to images on the Getty site. Choose this option and users are given an embed code (similar to those used on YouTube) whereby the image can be embedded on the users' site without any watermark. Instead, the image will carry a link back to Getty and a credit for the image and its photographer. Usage is restricted to editorial purposes.
As with YouTube, however, the linked content may be deleted at any time leaving users with a blank space on their site.
It's a radical departure for Getty but one that follows a similar model to Imgembed, which we reported on last year, a service created by the same Singapore team behind Creative Finder and Design Taxi.
US site The Verge (read their full post here) quotes Craig Peters, a business development executive at Getty Images, on the rationale behind the move. "Look, if you want to get a Getty image today, you can find it without a watermark very simply," he says. "The way you do that is you go to one of our customer sites and you right-click. Or you go to Google Image search or Bing Image Search and you get it there. And that's what's happening… Our content was everywhere already."
Peters argues that if Getty provides a clear, legal path for using its images, publishers will take it, thus opening up new revenue streams for both Getty and photographers. Once images are embedded (using an iframe code) the company can in the future collect data on users and even implant ad messages replicating the success that YouTube has had with pre-roll advertising and 'buy here' options.
That functionality isn't being employed as yet but appears to be one of a number of opportunities Getty is thinking about. But in the meantime, the embed option will at least credit both Getty and the photographer. "The principle is to turn what's infringing use with good intentions, turning that into something that's valid licensed use with some benefits going back to the photographer," The Verge quotes Peters as saying, "and that starts really with attribution and a link back."
Here's what Getty's Ts & Cs say about the usage of embeddable images: "Where enabled, you may embed Getty Images Content on a website, blog or social media platform using the embedded viewer ... Not all Getty Images Content will be available for embedded use, and availability may change without notice. Getty Images reserves the right in its sole discretion to remove Getty Images Content from the Embedded Viewer. Upon request, you agree to take prompt action to stop using the Embedded Viewer and/or Getty Images Content. You may only use embedded Getty Images Content for editorial purposes (meaning relating to events that are newsworthy or of public interest). Embedded Getty Images Content may not be used: (a) for any commercial purpose (for example, in advertising, promotions or merchandising) or to suggest endorsement or sponsorship; (b) in violation of any stated restriction; (c) in a defamatory, pornographic or otherwise unlawful manner; or (d) outside of the context of the Embedded Viewer.
Getty Images (or third parties acting on its behalf) may collect data related to use of the Embedded Viewer and embedded Getty Images Content, and reserves the right to place advertisements in the Embedded Viewer or otherwise monetise its use without any compensation to you."
It's a fascinating move by Getty, especially if/once they start to explore the potential of data collection and embedding ad messages. Photographers will be wondering when and how the promised new revenue will appear.
The 2014 edition of Dublin's OFFSET festival still has early bird tickets available – until March 1. With an impressive line-up of speakers this year, the long weekend of March 21-23 promises to be a memorable one...
OFFSET has become one of the most well-regarded creative events around – not bad for an organisation which launched only four years ago. That it now pulls in a wide range of big names from the creative industries (see below), as well as looking after some 2,000 delegates, says something of how its reputation has grown.
Jessica Walsh, Partner @ Sagmeister & Walsh Designer, Art Director / USA
Put simply, say OFFSET,the three days are a chance to construct "a weekend of presentations, interviews, panel discussions and debates with the very best of Irish and international designers, animators, illustrators, advertisers, artists, photographers and more live on stage."
Highlights this year include illustrators Sarah Mazzetti, Jon Burgerman and Mike Perry; artists Marian Bantjes and Geneviève Gauckler; designers Jessica Walsh, Marina Willer, Tom Hingston and Neville Brody; agencies Mother London and W+K Amsterdam; animation studios Brownbag and Golden Wolf; and Bloomberg Businesweek's creative direcror, Richard Turley. Legendary graphic design Milton Glaser will also be appearing in a special filmed interview.
Marina Willer, Partner @ Pentagram London, Graphic Designer / UK
There will also be a week-long series of screenings and exhibitions held across the city – more details of those here.
The full list of speakers for this year's event is below, with links to their OFFSET biographies. Early bird tickets are €165 (with a reduction for group bookings of six or more), and will be available until March 1 from iloveoffset.com. Thereafter, tickets are €180 each.
CR will also be reporting from the event over the three days.
This year's Design Indaba in Cape Town kicked off with some inspiring talks on advertising, digital innovation and interactive story telling. Here are a few of the highlights from the first day...
Ogilvy & Mather – story making not story telling
Chris Gotz, creative director at Ogilvy and Mather's Cape Town office, spoke about the agency's shifting focus from story telling to story making, creating interactive print and digital campaigns that rely on audience engagement.
Gotz cited several projects that put this theory into practice – the first was a campaign marking the end of production of the Citi Golf, South Africa's biggest selling car for over 20 years.
Volkswagen wanted to create a farewell campaign using material from previous commercials, but O&M instead decided to take the last ever Citi Golf on a tour of South Africa, allowing residents around the country to say goodbye in person and write a message on the car. The model is now a permanent exhibition at a South African museum and the project attracted 60,000 followers online.
In another project for Volkswagen, O&M used Google Street View technology to create a game where users would win points for spotting VWs in South Africa, which resulted in a 700 percent increase in traffic to VWs website:
And when the company wanted to launch a print campaign advertising its new range of eco-friendly cars, the agency devised a sticker that offered free postage to a recycling centre so when readers were finished with their magazine they could pop it in the post box. The campaign was launched in Cape Town but has since been rolled out in other destinations.
For Carling Black Label, O&M devised a mobile app that allowed fans of football teams the Orlando Pirates and the Kaizer Chiefs to be coach, choosing players for the starting line-up and voting on substitutions. 85,000 tickets were sold and 10.5 million votes placed through the game in seven weeks.
Ushahidi - connecting rural communities
Gotz's talk was followed by one from Juliana Rotich – co-founder of Ushahidi, an open-sourced crisis mapping platform that allows citizens to report incidents or emergencies during national disasters, conflicts or major events.
The platform is free to use and was set up after Kenya's 2008 elections chaos, but has since been used to report on unrest in Ukraine, the earthquake in Haiti and the tsunami in Japan in 2011.
The company recently moved into hardware and last year, developed Brck: a modem built for areas where internet connection is expensive or unreliable. The modem can withstand power surges from circuit boards, is portable and cheaper to use than other internet services in Africa and can operate using 3G during blackouts, which are frequent in many African countries.
Ushahidi's main aim is to get the world connected, particularly in Asia, Latin America and Africa where there remains huge potential for growth. Better internet connection has a direct impact on GDP and having access to it is as essential as other utilities such as water and energy, she said.
Experimental Jetset – the A-Z of Influences
Experimental Jetset's talk offered a look at the studio's biggest influences. Citing one from each letter of the alphabet, founders Marieke Stolk, Erwin Brinkers and Danny van den Dungen paid homage to the Beatles and punk rock, film directors Jean Luc Godard and Stanley Kubrick, designer Wim Crouwel and the political movement Provo, of which Stolk's father was a founding member, amongst others. The trio also acknowledged the influence of Helvetica on their work, but said they do not feel it defines them.
As well as providing an insight into the inspiration for some of the studio's most successful projects, it provided a look at the ideas, quotes and visuals that shaped their careers, and inspired them while studying design.
Local Projects – interactive story telling
The last talk of the morning was delivered by Jake Barton, co-founder of Local Projects, a New York-based media design company that has created interactive platforms and installations for museums, cities, galleries and schools.
At the Cleveland Museum of Art, Local Projects has developed some excellent works that offer greater engagement without taking away from the traditional experience of visiting a gallery and viewing exhibits up close.
The company created an interactive wall where users can view different items in the museum's collection and curate their own tours to share with others, as well as an interactive game that uses facial recognition software to re-create artworks in the museum using visitors' faces:
It also developed the media for the 9/11 memorial in New York: using recordings from visitors, survivors and people around the world recounting their memories of the day to create a powerful alternative to an audio guide or curator tour, and creating a database where visitors can search for names among the thousands listed on the memorial fountain and view people they are connected with, either personally or through events that took place on the day.
Both use technology to create more immersive experiences that enable visitors to create their own stories as well as find out about others'. And in each case, Barton said the company reversed the traditional creative process of planning before designing and testing, building prototypes throughout. While he acknowledged it can be an inefficient way of working, he also said it leads to better work in the long run and is how the company approaches all of its projects.
Thomas Hulme – open-sourced design
After Pecha Kucha style talks from a range of creative graduates (see the line-up and links to their work here), and an interesting talk on branding from Wolf Ollins' Ije Nwokorie in which he stressed a need to create brands that people can engage and have fun with, was a talk on the democratisation of design from Tom Hulme, co-founder of IDEO's collaborative creative platform, OpenIDEO.
OpenIDEO is in its early stages but is effectively a crowd-sourcing platform where people can pose a problem or idea and work with other users to create solutions and prototypes in response. People can then rate and evaluate suggestions and winning ideas will be developed.
The company regularly works with charities to set briefs: it launched a challenge with Amnesty International to design a device to help people at risk of kidnap and, earlier this month, launched a challenge for people to create solutions to help improve safety for women and girls living in slums.
Like an open online suggestion box the platform is designed to act as a blank canvas, explained Hulme, allowing anyone to collaborate and build on others ideas.
While it raised questions over ownership and the role of trained professional designers, Hulme said they still have a vital part to play – but will have to listen to rather than dictate how products or designs will be used in the future (presumably through collaborating on platforms like OpenIDEO). It's a fantastic platform for charity and grassroots initiatives as well as local problems, already achieving some impressive results.
Thomas Heatherwick – Cape Town development
The last talk of the day was from Thomas Heatherwick, who discussed several recent projects including the famed Olympic torch and cauldron (see image top of post), the new London buses, a university campus in Singapore and the UK pavilion for the Shanghai Expo.
Explaining the briefs set for each and the problems these posed, Heatherwick spoke about creating a campus free of monotonous lecture halls and long corridors (the Singapore building has 57 rooms with no corners) to create a university with a more inspiring human feel, and re-edesigning London's buses to make them more enjoyable to use, putting user experience at the heart of every project.
He also discussed the garden bridge and a project he is working on in Cape Town, which will see an old grain silo on the V&A waterfront turned into a space showcasing contemporary African art: a challenging project given the tube-like structure of the building and lack of a central space.
First launched in 2010, the Museum of London's Streetmuseum app has just been updated with 103 new locations. And to mark the update, a series of 'hybrid' images showing historic and contemporary views of the capital have also been released...
Developed once again with creative agency Brothers and Sisters, the new app has improved functionality and the option to order prints of some of the images featured from Museum of London's website. (Our post on the app's launch four years ago is here.)
As before, the app works across various sites in London. When users open up Streetmuseum on an iPhone, a map reveals their position and details the locations of where the nearest "hidden histories" are. Using it in-situ, with the phone's camera and the '3D view' enabled, the app then overlays a historic image from the Museum's extensive photographic collection over the screen.
To mark the increased points from which the images ranging from 1868 to 2003 can be accessed, the museum has released 16 hybrid images of London, nine of which are shown here.
According to the Museum the images for the 2014 update were taken by renowned late 19th and 20th century photographers including Henry Grant, Wolfgang Suschitsky, Roger Mayne and George Davison Reid, and include locations in London "which have changed dramatically in the intervening years", such as Blackfriars station c.1930, Victoria Station in 1950, the view of London's skyline from Tower Bridge c.1930, and Brick Lane in 1957.
"The new locations also expand to the suburbs and outer boroughs of London," say the Museum, "from Richmond mods in 1964, Brent Cross road construction in the 1970s to Ealing Suffragettes in 1912 – providing an even more comprehensive reach for the app."
Streetmuseum 2.0 can be downloaded for both iPad and iPhone here. Caption information supplied by the Museum of London.
Our March issue is a craft special and examines how a range of creative work was made, including Maya Almeida's underwater photographs and a 3D-printed slipcase by Helen Yentus. We also explore the science behind Jessica Eaton's extraordinary images, and go behind-the-scenes of new ads for Schwartz and Honda...
On top of all that we look at the BBC's new iWonder platform, review the Design of Understanding conference and books by Wally Olins and on the Ulm School of Design, and Paul Belford explains the power behind one of the most famous posters from Paris 1968.
The March issue of Creative Review will be available to buy direct from us here. Better yet, subscribe to make sure that you never miss out on a copy – you'll save money, too. Details here.
Opening the issue, our Month in Review section looks back at the The Lego Movies' 'ad break takeover'; Black + Decker's new identity; the return of the Old Spice guy; and the debate around the new Squarespace Logo service.
Daniel Benneworth-Gray raises a sleep-deprived toast to working through the night; while Michael Evamy's Logo Log salutes the Mobil identity on its 50th anniversary.
Our craft features begin with a look at the work of underwater photographer, Maya Almeida. Antonia Wilson talks to her about what it takes to create her beautiful images...
And Helen Yentus, art director at Riverhead Books in New York, talks us through her radical 3D-printed slipcase she recently designed for a special edition of Chang-Rae Lee's novel, On Such a Full Sea. (Yentus also created this month's cover.)
Rachael Steven looks at the thinking behind iWonder, the new online storytelling platform from the BBC...
...While six of the objects that appear in BarberOsgerby's In the Making show at the Design Museum are featured – each one 'paused' midway through its manufacture and beautifully shot by György Körössy (two pound coin shown, above right).
Antonia Wilson also talks to photographer Jessica Eaton about the process behind making her stunning images of cubic forms.
And Eliza Williams discovers how over a hundred sacks of spices were blown up in a new ad for Schwartz...
... while a more sedate approach is explored in a behind-the-scenes look at Honda's Inner Beauty spot from Wieden + Kennedy.
We also look at why VFX is becoming more invisible, and (above) look at the latest trends in packaging.
In Crit, Nick Asbury reviews Wally Olins' new book, Brand New...
...Mark Sinclair reports back from the recent Design of Understanding conference...
... and Professor Ian McLaren looks at a new book on the influential Ulm School of Design, which he attended in the early 1960s.
Finally, this month's edition of Monograph, free with subscriber copies of CR, features photographs of Norfolk by designer Pearce Marchbank.
The March issue of Creative Review will be available to buy direct from us here. Better yet, subscribe to make sure that you never miss out on a copy – you'll save money, too. Details here.
Creative agency Uniform has designed an interactive donations box for Dundee Contemporary Arts Centre, based on research that suggests increasing visitor engagement could boost donation revenue at free venues.
The Pixel ArtCade machine is made up of three giant, illuminated pixels. When visitors insert money, the pixels change colour, shifting one step along the RGB colour wheel. Visitors who create a triadic colour combination (a mix of colours evenly spaced on the colour wheel) unlock a secret game.
The concept is based on a study carried out by local game design company Denki on whether video game theory and design could be used to improve donations.
Denki began by comparing DCA’s visitor donations to similar venues to determine if figures were below average, but discovered the amount received was “pretty typical”. The company then interviewed a number of people about donating to free venues and found that most didn’t see it as a priority.
“If the lights are on, the doors are open and there aren’t any reports of imminent closure…then their assumption is that free-entry organisations are already adequately funded…so they don't feel especially compelled to give further,” says Denki’s managing director Colin Anderson.
Despite it being easy to donate via a box at the venue’s entrance, visitors were choosing not to, and Denki concluded that this was due to a lack of engagement, rather than a lack of convenience.
“We had to create something that not only asked for donations but gave something back. The most successful route was to create something that was playful...physical and tangible,” explains Anderson.
Denki appointed Uniform to create the installation and the agency worked with Professor Jon Rogers, chair of creative technology at the University of Dundee, and Patrick Stevenson-Keating at London-based studio PSK, on its build and design.
Pete Thomas, Futures Director at Uniform, says there were several constraints to the project - mainly a lack of sound. “It was important for both ticket desk and galleries teams tha the machine didn’t make any noise in operation, so the interaction is very simple.
“When money is dropped into it, a laser is broken, the pixel changes colour and message box flashes up a 'thank you' for in the same colour for a few seconds. The pixels will stay on this new colour until a new player changes them,” he explains.
The machine also had to appeal to both adults and children and be durable enough to withstand "late night revellers," says Thomas.
As well as housing a shop, print studio, restaurant and research hub, DCA is home to an art gallery and cinema and regularly hosts multimedia and screen based art, which Thomas says inspired the studio's decision to create an RGB light installation. "It was important that we created reflected the scope of activities at DCA," he says.
The project is one of a series supported by the Digital R&D Fund for Arts and Culture Organisations in Scotland, an initiative funded by Nesta, Creative Scotland and the Arts and Humanities Research Council. Lorna Edwards, programme manager for Nesta, says the fund has financed 10 schemes that utilise technology to increase revenue to arts and cultural organisations.
In London, Barger Osgerby and Universal Design Studio recently created a 'Fundraiser Desk' for London's Science Museum, which visitors had to pass through on entering the venue. The project increased donations by 80 percent and received a gold award at DBA's Design Effectiveness Awards last week.
A new video installation for the window of Parisian department store Printemps Du Louvre from creative consultancy Big Active, creates a moving kaleidoscope of archival imagery in the shop window.
Printemps Du Louvre is the new flagship branch of the luxury French department store situated in the Carrousel Du Louvre, an underground shopping mall close to the Louvre museum in Paris. It is Printemps' first new space for 30 years, and exhibits from contemporary artists occupy much of the inside, with emphasis placed on the in-store experience, in turn drawing consumers away from online shopping.
The project brief - in simple terms, to attract visitors towards the window and into the shop - meant competing with prestigious neighbours, whilst developing something that would work with the existing, modestly sized windows of the store.
"The environment itself was a challenge, the windows are opposite the Apple Store and the iconic La Pyramide Inversée," says Greg Burne, of Big Active. "We knew we had to produce something visually highly impactful, brand neutral, which would hold it's own and lure people away from the endless Louvre museum queue."
In keeping with the type of high-end, experiential shopping experience that the store prides itself on, the windows needed to welcome in visitors with something a little bit different.
Tasked with directing and designing the film, was Mat Maitland with a team from creative consultancy Big Active, who specialise in art direction, graphic design, illustration and moving image, with animation from Paul Plowman and music by Buffalo Tide.
The video installation features archival iconography and other images from Printemps the Louvre, which plays in a three-minute loop. The screen sits inside a mirrored frame, designed to reflect the film and create a kaleidoscopic effect, with the products physically placed in the centre.
Some of the Prime Minister's "key moments" since 2010 are celebrated in a new Facebook-style compilation from the Labour Party...
While applying 'likes' and 'dislikes' to party politics might suggest a rather simplistic approach, this spoof video hits the mark pretty well.
Soundtracked by a well chosen and whimsical piano track, A Look Back at a Tory Government features photos spotlighting several moments from the coalition's years in power.
From "your first moments" and "your most unliked posts" to a brilliant "photos you've shared" gallery of shame (George Osborne is very much 'that guy' here), the film apes the tone of Facebook movies very convincingly.
It also ends nicely with a block of FB photos recreating Ed Miliband's observation last week that the coalition front bench was an all male bastion. And then, well, there's a big 'thumbs down'. Not exactly subtle, but quite amusing nonetheless.
UK studio Universal Everything has designed an immersive app for Radiohead using artwork by Stanley Donwood and music from the song Bloom. We spoke to UE's Matt Pyke and Mike Tucker about how it was made.
Polyfauna is free to download on iPhone, iPad and Android. Radiohead frontman Thom Yorke says the concept was born out of an interest "in early computer-life experiments and the imagined creatures of our subconscious," and provides "a window into an evolving world."
The app guides users through a series of different landscapes, from vast forests to mountainous regions in daylight, darkness and at sunset. Visuals are set to expanded versions of Bloom and sounds from the band's 2011 album, King of Limbs, composed by Radiohead and producer Nigel Godrich.
Users are greeted with a different virtual world each time they open the app, which they can explore by tilting their device to look up, down and around. They can also interact with it, creating lines, shapes, spiny creatures and plants by touching or swiping their screens.
Universal Everything has been working on Polyfauna for around six months and was first approached by Radiohead in 2011. "I received a mysterious email from Yorke under a pseudonym - he said he'd seen some of our work [an installation in Paris and a website for Warp Records], and would like to collaborate on an app," he says.
The app was to be "an audio visual expression," says Pyke. Donwood, who has created artwork for Radiohead since the early 1990s, had produced a series of sketches and paintings of trees, woods and landscapes, and the band were keen to bring his artwork to life.
Working with the artist and the band, Pyke and Universal Everything developer Mike Tucker created a series of 3D worlds that can be explored from all angles. "It's not supposed to be used at a desk but while you're stood up and moving around, like you would with a pair of binoculars," says Pike.
Users can also take snapshots of the various scenes and shapes they have created and upload them to Radiohead's new website.
"We wanted to add a nice layer of interaction so users weren't just passively looking around. Stanley's work has strong evidence of being created by hand, so we wanted to allow users to create life, too," says Pyke.
The code which allows users to create these 3D creatures was generated using mathematical formulas that calculate the geometric pattern of a spine or fern growing in the wild.
Each user's shapes will be unique, and Pyke says he hopes the ability to take and share screen grabs will create a sense of discovery. "It's like users are taking on the role of an explorer and documenting a new place they've found. Every place will be different, so they are all undiscovered," he says.
The number of scenes in the app is, in a sense, infinite, as each time users enter, they are met with a different combination of light, weather, landscape and moon phase, says Tucker.
"There is a disposable culture surrounding phone apps - people tend to download one, give it a play for a few minutes and subsequently delete it if they aren't impressed. With Polyfauna, we created an experience to be completely unique each day, making a reason to come back and enjoy it days or months later," he says.
The overall effect is designed to simulate a sense of living inside the band's music, says Pyke - Godrich and Radiohead's atmospheric compositions include snippets from throughout the King of Limbs album, and are exploded, distorted versions of tracks rather than traditional remixes.
There are 31 sound track mixes in total and each is broken into four individual channels, which Tucker says are "physically located in the 3D environment. This means as you physically turn your body, each channel will shift, as if you are hearing instruments from afar," he adds.
It's an impressive piece of work from Universal Everything, and Radiohead's most intriguing digital experiment to date.
"It was a really nice collaborative process," says Pyke. The band has such an experimental ethos - allowing fans to pay what they wanted for their album, Rainbows, for example - and they were all really interested in creating an experiential process, one that stretches the traditional structure of music," he adds.
Global creative conference Design Indaba returns to Cape Town on February 26. The line-up so far is impressive, with talks from Thomas Heatherwick, Stefan Sagmeister, Experimental Jetset and photographer David Goldblatt…
The three-day conference turns 20 this year and has earned a reputation as one of the world's biggest creative events, covering graphics, digital media and architecture as well as fashion, product and interior design.The full programme is yet to be released but 40 speakers have been announced so far.
Caitlin and I by Zanele Muholi. Image courtesy of Muholi and Stevenson Johannesburg/Cape Town
Man building his house, Marselle Township, Kenton-on-sea, shot by David Goldblatt.
They include South African photographers David Goldblatt, Nandipha Mntambo and Zanele Muholi. Muholi's latest photography series, Of Love and Loss, is a collection of portraits capturing weddings among South Africa's black LGBT community, on display in Johannesburg from February 14 until April 4.
There is a strong presence from graphics, branding and media firms, too, with speakers from Europe, Australasia and the Americas.
Experimental Jetset's identity for the Whitney Museum and exhibition design for The Printed Book: A Visual History
Amsterdam Studio Experimental Jetset will be discussing their work alongside Sagmeister, who is based in New York; Dean Poole, co-founder and creative director of Auckland studio Alt Group; Tom Hulme, design director at London firm IDEO, Sao Paulo-based AlmapBBDO creative director Marcello Serpa and Wolf Ollins London's managing director, Ije Nwokorie.
New Zealand Opera branding & New Zealand New Music packaging by Alt Group
The Happy Show and Standard Charter commercial by Stefan Sagmeister
Creatives attending from other sectors include fashion designer Henrik Vibskov, currently the subject of an exhibition at Helsinki's Design Museum, Heatherwick and Dutch interior design duo Scholten & Baijings. A selection of graduates from leading design schools will also be presenting their work Pecha Kucha style.
Story Corps, a local storytelling project devised by New York media design firm Local Projects. Founder Jake Barton will be speaking at this year's Design Indaba
UK Pavilion at the Shanghai Expo and new look London buses designed by Thomas Heatherwick. Image: Iwan Baan
The conference ends on February 28 and is immediately followed by a South African design Expo running until March 2, showcasing work from emerging creatives and local artists and makers. Music and film programmes run alongside both events with 38 gigs over two nights, and 10 film premieres between February 21 and March 2.