Posted: November 21st, 2014 | Author: Creative Review | Filed under: Advertising, Books, Digital, Graphic Design, Illustration, Magazine / Newspaper, Music Video / Film, Photography, Type / Typography | Comments Off
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 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.
Patrick also investigates the social and political challenges that our ageing populations pose to Western economies – and looks at the opportunities that might arise, too.
Eliza Williams examines a year in which native advertising established itself as a controversial presence in our media landscape...
...and in using materials that change colour in the wind – or even react to brain activity – Rachael Steven talks to The Unseen, an 'exploration house' effortlessly combining art and chemistry.
French graphic designer and illustrator Jean Jullien is much in-demand at the moment and Mark Sinclair talks to him about his work to date as he leaves his adopted home of London for New York.
Five years ago, Sophie Ebrand swapped life as an advertising account manager for that of a professional photographer – and she's never looked back. Eliza Williams meets her.
In Crit, Jean Grogan attends a Paris conference on the work of type designer, artist and ad man Roger Excoffon, whose work is enjoying something of a revival at the moment...
... and Craig Oldham is also conference bound – to Manchester's People's History Museum for an event dedicated to the history of the political poster in Britain.
Finally, Paul Belford celebrates a type-only poster designed by the late Alan Fletcher which proves that working counter-intuitively can pay off in a big way.
Posted: November 20th, 2014 | Author: Yan Kallen | Filed under: Graphic Design, Photography, Type / Typography | Comments Off
"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.
Collection of handwritten and handmade words from mun-ji.com
Throughout the occupied areas, students and protesters have created and put up a large amount of visually striking handmade banners and signs to express themselves.
A four character sign saying "In the light of honesty" becomes part of a barricade in Harcourt Village, Admiralty
Vertical arrangement unique to Asian languages, seen on banners hanging on a bridge that leads to the government headquarters, above the protest area. Harcourt Village, Admiralty
The spirit of Chinese calligraphy or 'shu-fa'; which literally means "the way of writing", is an outlet to practice self-discipline and concentration, and to articulate thoughts and emotions with brush strokes. With or without aesthetic considerations, the written words of the Umbrella Movement have undeniably shown qualities of calligraphy and typography design, and can definitely be appreciated as such.
A banner written in retro style asking protesters to patron the small shops and businesses that may be affected by the protests. Lower Nathan Village, Mong Kok
The occupied streets or "villages" as some called them, have grown into a place where anyone can freely express their words and share them publicly. As they express their political views, cheer on and encourage fellow protesters, and write banters to mock government officials, these calligraphy and typography designs currently hanging in the streets have inadvertently become one of the icons of Hong Kong's Umbrella Movement.
3D letters "Add Oil", a Chinese figure of speech meaning to "give effort" "to stay strong" or "Add Fuel". - Harcourt Village, Admiralty.
Calligraphy poetry on the top of a tram stop, the tram stop is also shelter for protesters staying overnight. - Causeway Bay, Hong Kong
A banner with the words "Civil Disobedience" laying on an area of dead bushes that was trampled on the day the police fired teargas at protesters. - Harcourt Village, Admiralty
Calligraphy written on umbrellas. - Harcourt Village, Admiralty
The large word "bath" labels a shower station for protesters built by the students. -Harcourt Village, Admiralty.
Banner created with found materials. Harcourt Village, Admiralty
Yan Kallen is a visual artist from Hong Kong. See more at mun-ji.com
Posted: November 20th, 2014 | Author: Mark Sinclair | Filed under: Graphic Design, Photography, Type / Typography | Comments Off
Richard Heap is a British graphic designer who now lives and works in Guatemala City in Central America. He recently started taking pictures of type he comes across in the capital's Zone 1 district – and in tracing the images in Illustrator back at his studio, he has begun to document the city's urban lettering...
Heap is a designer at Studio Domus, an architectural firm in the Guatemalan capital. He moved there three years ago (his wife is from Guatemala) and has recently started to photograph typography in the downtown area of his adopted city.
"For the past couple of weeks I've been exploring the capital, photographing and then vectoring the type on the buildings in the historic Zone 1 district," he explains. "It's a rough area, and well past it's 1950s heyday, so I was bobbing in and out of the car, snapping a few pics and then tracing them in Illustrator.
"Some of the traces are a bit rough and ready as all the photographs are, naturally, angled upwards. But I feel it gives a good idea of what the area is like."
"Guatemala City was known as the 'Silver Cup' in reference to its beauty," says Heap. "Since then the city has been plagued by poor urban planning, crime and traffic problems – yet some buildings are real gems, if somewhat dilapidated. I thought it would be a nice idea to graphically record these in an ongoing project before any further deterioration takes place."
Heap explains that he takes several images at each site – the shots taken straight on to the signage are then used to draw out the type. "I haven't been able to access any neighbouring or opposite buildings to get a clean 'flat' photo to work from, so I always need to take into account that I'm looking up. However, the photos online are deliberately 'not' the shots I vector from as those images are zoomed in and don't give you a sense of the building or context."
Trying to date many of the examples is problematic, says Heap, who estimates that the majority of the lettering he has photographed dates from the 1920s to the 1960s.
"[With] some we know [the year] from the type itself – e.g. El Danubio, above – but others I can't find out; either the tenants have no idea, or the building is uninhabited. If I had more time or contacts I'd love to dig deeper into this. Furthermore, Guatemala City's Zone 1 is a pretty sketchy area, so I generally don't like hanging around."
Heap says that the project is ongoing and he is set to photograph three sites next month, including Guatemala's Estadio Olimpico which was built in 1948.
The full series to date is at richardheap.com/#/zone-1-type.
Posted: November 18th, 2014 | Author: Mark Sinclair | Filed under: Books, Graphic Design, Photography, Type / Typography | Comments Off
Over the last two years, Vintage Classics has republished 14 of Virginia Woolf's works in an ongoing series which includes her novels, essays and diaries. For the series' cover designer James Jones it's been an opportunity to use images from a range of photographers and create a set unified by the strength of its imagery...
Take a look at any recent round-up of great book cover design and it seems that illustration and type-only designs are more popular than ever – photography, it now seems, perhaps less so.
But Vintage's ongoing publication of the complete works of Virginia Woolf (based on her original Hogarth Press texts) has developed into a series linked by its great choice of photographic image.
The covers often use tight crops of pictures (there are four examples below), with some subtle tonal manipulation, all of which is overseen by Jones.
For the Vintage designer, the job of covering the full set – of which Street Hauntings (above) was the most recently published – began with an immersion in Woolf's world. "Redesigning Woolf's novels was a challenge, not just because of the endless options out there, but for the fact I hadn't read any of her work beforehand," Jones explains.
"I was surprised by how obscure and highly experimental it was; her work is distinctive, her style her own, and her words bold and new. And it was the words I was struck by the most, so I began visualising the first few paragraphs of her novels purely through typography."
A detail from Jones' first typographic idea is shown below (this was later exhibited in the Killed Covers exhibition at the Hay on Wye festival).
Jones says that, while keen on the type-based approach, the route didn't convey "how contemporary her novels felt, and it would prove a challenge to stretch the typographic route across her many books. What I really wanted to bring across, and what I felt was missing from my earlier ideas," he says, "was the sense of colour and light that I pictured when reading her work."
Senior editor at Vintage, Frances MacMillan, concurs. "We wanted new jackets which would make potential readers rethink their ideas of this famous author; covers which presented Woolf as modern, relevant and surprising," she says. "Woolf's own beautiful, sensuous descriptions of light and water in The Waves were one of the starting points for inspiration."
The Waves, one of Woolf's most experimental books, was the first to be published in the new Vintage edition in April 2012. To the Lighthouse followed and set the tone for the resulting series.
Jones says that he and MacMillan picked out various passages from each book that could be investigated further – key moments, themes and setting descriptions all played their part when looking for the right images. The designer then researched photographs that helped to represent certain lines within the work, however abstract they were.
"We decided to go photographic, and give a wide brief – the main thing we were looking for in the photos was a certain quality of light: early evening summer light; hazy, sunny light; or cold London daylight," says MacMillan. "Suffused colour, and over-exposed, bleached or tinted images seemed to suit the intensity of Woolf's voice."
"Cropping of these images was important, as it kept the covers modern and fresh," says Jones. "A good example would be for The Waves. A wrinkled bed sheet. A window. A dark line across the horizon. All feature in the first few paragraphs, and I loved how with the right crop the bedsheets themselves resembled the title of the book." The original photograph is shown below, beneath an image of the finished cover.
Giacomo Furlanetto, Millennium Images
"We wanted the photos to mirror her famous stream-of-consciousness style and represent captured moments, giving the sense of lives going on before and after the photo taken," adds MacMillan. "Unusual details, or an odd crop, would suggest a unique, innovative point of view."
Most of the images used in the set are crops of larger photographs but what's perhaps more surprising is how tight the details extracted are.
For Jones, this was about focusing in on certain details in the images which would then help to bring the overall series together – as in the cover designed for Woolf's famous lecture, A Room of One's Own, which uses a small element from the right-hand side of second shelf of books in Matthew Somorjay's picture, shown below. (Jones would then work with the tones, highlights and saturations of each of the images to bring them all into line.)
Matthew Somorjay, Millennium Images
"I wanted to zoom in quite heavily to focus on the shadows and the light falling against the books," he says. "You can also see how the colours have been altered to fit in with the rest of the series. Each cover uses a different photographer and most of them were represented by Millennium images as they seemed to have the style of photograph I was after.
"Making each unique image work as part of a series proved trickier, but was solved through the colour changes and again the crops of the images."
Matthew Strong, Getty Images
Tim White, Millennium Images
"When it came to the type – a version of Caslon – I wanted to keep it quite elegant and simple so as not to distract from the images," says Jones. "
Each cover was great to work on and hopefully as a series they tie together well and represent the authors style of writing, which is still an active influence on many writers working today."
The Vintage Woolf series is published by Vintage Classics. More details here. Jones is also one of the founders of the CMYK blog which charts the design of various Vintage books. For more of his work, see jamespauljones.tumblr.com or follow him via @jamespauljones
Posted: November 13th, 2014 | Author: Antonia Wilson | Filed under: Photography | Comments Off
David Titlow has won the Taylor Wessing Photographic Portrait Prize 2014, with a photograph capturing his nine-moth old son Konrad being introduced to a dog. Here are this year's winners and other highlights from the competition...
Titlow's winning photograph, entitled Konrad Lars Hastings Titlow, is a beautiful, intimate, unstaged shot, and just one of several in the diverse selection in the exhibition that looks towards new styles of what we might consider as ‘portraiture'.
Working in fashion and advertising, Titlow has had his work featured in publications including the Guardian, the Sunday Telegraph and Vanity Fair. He typically shoots on a Nikon D800, but prefers his "noisy and battered" Lumix GF1 for personal work including this shot.
"My girlfriend, Sandra, is Swedish and we often visit a midsummer party with her old school friends. It was the morning after a big party and everyone was a bit hazy from the previous day's excess," says Titlow. "I always try to have a camera with me, and as my girlfriend passed our son to friends on the sofa, the composition and backlight was so perfect that I had to capture the moment. The spontaneity of Konrad interacting with the dog and the beautiful Swedish sunlight flooding in from behind the sofa made the scene look like a painting."
Judges included the National Portrait Gallery's director Sandy Nairne, curator and Vogue contributing editor Robin Muir, artist Bettina von Zwehl, the National Portrait Gallery's head of photographs collection Phillip Prodger, and business group director at Taylor Wessing LLP Niri Shan.
59 images including the winning work have been chosen from 4,193 submissions, to be exhibited at the National Portrait Gallery from 13 Nov 2014 until 22 Feb 2015.
Second prize went to Jessica Fullford-Dobson, for Skate Girl - a portrait of a seven-year-old Afghan girl at a skate school in Kabul.
‘The series reveals that Afghan girls are like any others in the world," explains Fulford-Dobson. "What I loved about this girl, was how immaculately dressed and composed she was. The skate hall is a dusty, noisy place filled with laughter and yelps of excitement as the girls skateboard freely, up, down and around with their robes and scarves flying."
Birgit Püve won third prize, for Braian and Ryan, from her Double Matters book featuring more than 80 sets of identical twins and triplets in Estonia. Dissatisfied with the results after an initial meeting, she returned for a further session with the boys in the shot: "This time, the boys had already become used to me, the light was perfect - all the pieces fitted together."
Blerim Racaj won forth prize with Indecisive Monet, from a recent, unpublished series about young Kosovars, triggered by the socio-polictical landscape in Kosovo and the high level of unemployed young people. "I'm aware that almost every Kosovar is affected by painful traumas of the war, directly or indirectly," says Racaj, who, seeking to denote the uncertain future of the teenage subjects, used black-and-white film with single flash to create a deliberately "dark, mundane environment" during the shoot.
The John Kobal New Work Award went to Laura Pannack for Chayla in Shul, depicting a rabbi's daughter, from the Purity series that focuses on Orthodox Jewish women and girls living in Stamford Hill, north London - a project that connects with her cultural heritage.
And here are a few of our highlights from the rest of the exhibition...
Lewisham Chair of Council Cllr Obajimi Adefiranye, from the series The London Borough Mayors 2013-2014 by Ian Atkinson; a project recording the diversity of the population of London by photographing serving mayors or civic heads of all thirty-two boroughs.
Nataly Angel Miranda, from the series Dancing Like a Woman by Viviana Peretti, captures the Colombian drag artist and ‘Miss Bambuco Gay 2012', waiting to take part in the 2013 competition.
Boy with Drape, from Heiko Tiemann's Infliction series, photographed at a school for young people with complex social or emotional backgrounds.
Arvi, by Sami Parkkinen is a portrait of the photographer's son aged two in his own winter coat, from an ongoing series about relationships between fathers and sons.
47 Years Later (A tribute to Diane Arbus), by Catherine Balet, is a portrait of Ricardo Martinez Paz, and is part of a series in which Balet reimagines iconic images in the history of photography in collaboration with the 73-year-old model.
Dad by Kelvin Murray captures the photographer's father Charles, who was diagnosed with cancer a few months before this photo was taken. "Dad had always liked to be photographed and although he was very ill, seemed happy to go along with my ideas," Murray says.
Myrtle McKnight, My Mother, from the series The Object of My Gaze, by Marcia Michael, is a portrait of the artist's mother undressing, presenting an aesthetic that "challenges the way of looking, that lessens the gaze and dispels the normal trope of race and sex that exists in identity formation," Michael explains.
Tim, by Laura Stevens, depicts Tim Andrews, who since being diagnosed with Parkinson's disease in 2005 has turned himself into a living art project, having been photographed by over 300 photographers. "I wanted to make a portrait that wasn't immediately about his illness, but a beautiful and intimate image of him, connected and at peace with his body," Stevens says.
Unexpected, by Lenka Rayn H, captures the daughter of a friend of the photographer, who commissioned a pair of portraits of his two daughters. "I expected two giggling girls, but to my surprise they were really serious and great at following my directions," H describes. "I was able to create something totally unexpected as their father gave me creative freedom and fully trusted me."
Embrace by Buki Koshoni, from the Ace & Marianne series, was taken just after the artist's wife gave birth to their son. Although Koshoni had doubts about his decision to photograph the birth, he sought the reassurance of his wife: "Without a hint of self-consciousness, she allowed me to photograph the birth in its entirety. I owe this shot to her and of course my son, Ace," he says.
Posted: November 12th, 2014 | Author: Eliza Williams | Filed under: Art, Photography | Comments Off
US artist Robert Heinecken rose to prominence in the late 60s, creating photo collages that explored questions of sexuality and consumerism. His work often proved controversial during his lifetime but is being reappraised now in a series of exhibitions, including a show at the Open Eye Gallery in Liverpool. We talk to curator Devrim Bayar about Heinecken's work, and whether it will could still prove objectionable to feminists...
Heinecken described himself as a 'paraphotographer', because while photography was always central to his work, he was interested in exploring the medium as a subject in itself, and created works in a number of forms, including sculpture, video and collage. Earlier this year, a major retrospective at MoMA in New York looked at work from throughout Heinecken's career, yet the show at Open Eye (which originally appeared at Weils contemporary art centre in Brussels) hones in on a particular period, when he was creating artworks using a Polaroid SX-70 camera. Titled 'Lessons In Posing Subjects', the series repurposes images from popular culture to explore the way that female sexuality is used to fuel consumerism. This is the first time this body of work has been shown in its entirety in the UK.
Above and top: Lessons In Posing Subjects: Standard Pose #1 (Hands/Neck/Head), 1982
"The exhibition concentrates on a technique," explains Bayar, curator of the show at Weils and Open Eye, "the use of the Polaroid SX-70 and how Heinecken subverted this widely popular technology. In 1972, when the SX-70 was launched, it enjoyed immediate success in the general public as well as in artist circles. It was the first easy-to-use camera that instantly produced colour prints. As a first step, Heinecken used the SX-70 like everybody else: to make snapshots of his wife, their intimacy etc. Very quickly though, he started re-photographing existing images, and more specifically, photos of mannequins in mail-order magazines and pornographic magazines.
"By photographing them with his Polaroid camera, Heinecken gives them a natural appearance, spontaneous, whereas these images are completely artificial. With this new tool, Heinecken explored important notions such as biography vs. fiction, true vs. false, and reality vs. representation, which is what the show hopes to emphasise."
Conversations about art and artists from He/She series (#9), 1980
While in his earlier work, Heinecken tended to work with photography as a subject, rather than taking shots himself, with the arrival of the Polaroid SX-70, this changed. "During his entire artistic career, Heinecken challenged the idea that photographic images are transparent windows onto the world," continues Bayar. "Instead he tackled their materiality in order to make apparent the latent content of the mass media: war, violence, pornography, sexuality, consumerism, etc. To paraphrase Heinecken’s own words “the photograph is not a picture of something, but an object about something”. Heinecken experimented with a large variety of techniques to tackle the materiality of photographic images, such as collage, lithography, photograms etc. The use of the Polaroid SX-70 camera is thus only one of the steps in his ever experimental approach. However it is quite a surprising one, as Heinecken was known for working with photographic images without ever using a camera.... It thus corresponded to quite a radical change in his method."
Lessons In Posing Subjects: Standard Pose #9 (Both Hands/Hips), 1982. All images © The Robert Heinecken Trust
Objectification of women was a central subject in Heinecken's work, though his preoccupation with it raised the ire of feminists when it first appeared, who denounced the artist as a misogynist. For Bayar, this is a complex issue. "I think that this view has changed but there are still people who feel his work is complacent with the objectification of women in mass media," she says. "Having researched his work extensively and been in contact with several people who were close to the artist, I am convinced that Heinecken's images, as seducing as they are, are strongly critical and engaged. As the artist himself replied, with his deadpan sense of humour, to a journalist who called him a 'misogynist photographer', he said he wasn't sure 'whether to be more insulted at being called a misogynist or a photographer'. I think this sums up quite well his way of thinking."
Bayar sees Heinecken's exploration of the blurred lines between reality and fiction in photography as being especially pertinent to today, when we live in a world of constant self-documentation. But whereas Heinecken was keen to point out the codes hidden in imagery, and thus the falsehoods, today we are inclined to disguise ourselves in a fiction more than ever. "Today, everyone can photograph their life with a click of an iPhone and give their images any filter thanks to special applications on smartphones and computers," she explains. "In a certain way, it’s the inverse phenomenon which produces itself: we give our life an artificial look. These images can then instantly circulate around the internet and be shared with the entire world. Thanks to new technologies the phenomenon of recontextualisation of images, be they private or public, is exponential. Heinecken’s work announced this phenomenon of decontextualisation, the growing ambiguity between reality and fiction in photographic images and the culture of selfies in which we live in."
Robert Heinecken: Lessons In Posing Subjects is on show at Open Eye Gallery in Liverpool until January 11. More info is here.
Posted: November 7th, 2014 | Author: Gemma Fletcher | Filed under: Photography | Comments Off
Art director Gemma Fletcher examines the work of photographer Kate Peters, in the first installment of a series looking at new talent in photography, from recent graduates to photographers breaking into the commercial world...
Kate Peters went out on her own in 2010 after several years assisting Nadav Kander, the golden ticket of all assisting jobs. Achieving a huge amount in just a few short years, she has exhibited around the globe, won numerous awards and has built up an impressive portfolio of personal and editorial work for high profile clients including Time, New Statesman, Monocle and the Guardian.
Pictured above: Lee Scratch Perry from the series Before and After
One of the first things that strikes you about her work is the rich depth of every single image. The majority of Peters' work is shot on film and she is an avid evangelist of the #filmsnotdead movement. Shooting with a waist level finder means that she can have direct contact with her sitter, creating a more collaborative environment, which shows in the images.
There is plenty of debate about the use of film versus digital, some champion its superior quality, while others believe it to be an archaic medium. For me, the seduction of film in a visual landscape where digital is ubiquitous, offers a welcome change. However, it's crucial that it's used to support the process rather than for novelty's sake.
Mistress X from the series Yes Mistress
Peters' work focuses on how we construct alternative realities, both physically and psychologically. Truth and fiction, performance and documentary, all play a part in her work.
She is best known for her project Yes Mistress where she created an alternative representation of the often clichéd roles of women and men. The project explored the dominatrix and the client and the shifting complexity they encounter as they switch between everyday life and the world of BDSM.
Likewise her recent series Before and After examines a similar idea with performers, where she photographed them immediately before and after they went on stage as they flex between their different personas.
Edilaine from the series Under the watchful eye: Women in Brazil
In many projects, Kate examines the representation of women and how this has changed over time in different cultures. Shot in Brazil in the lead up to the World Cup, Under the watchful eye: Women of Brazil tells the story of twenty two unique women, whose histories illustrate what life is like in such a culturally diverse country.
With photography still a male dominated industry it's exciting to see emerging female photographers embrace and share female-centric stories.
Daisiane from the series Under the watchful eye: Women in Brazil
Gilbert and George
Like Nadav, Peters presents well-known faces in ways we haven't seen before. The images feel intimate, emotional and mesmerizing. There is an openness to her work, and she has an ability to illustrate vulnerability and personality in both a delicate and sophisticated manner, like that of Katy Grannan.
Although tackling diverse subject matters, Peters' work has a distinct style and aesthetic consistency, which rings true whether she is shooting portraits, landscapes or still life - something that often takes photographers years to achieve. Blending the traditional craft of the medium with her fresh point of view she has created an impressive and enviable portfolio.
Keep an eye on the CR blog for the next piece in the series from Gemma Fletcher next month.
Posted: November 6th, 2014 | Author: Eliza Williams | Filed under: Photography | Comments Off
There's something indescribably appealing about collections of old books and magazines, as these photographs by Mark Vessey prove...
Vessey photographs old publications piled into stacks or set in order as if on an imaginary shelf. Images of this kind are not especially original (Google 'photographs of piles of magazines' and you'll see what I mean), but Vessey's choices of subject, plus the careful way he places the objects (these are no casually slung piles) gives his photographs an unusual, special touch.
His most recent work features a complete set of William Shakespeare's plays (crop shown above, full image below). The titles are mismatching, from a range of publishers, and extremely well-thumbed, evoking memories of school and the forced enjoyment of the Bard.
Other works show collections of Penguin books, and old copies of style mags The Face, Vogue and Pop. For both The Face and Vogue, it's surprising to see how minimalist the spines are on these influential titles, while in the Pop image, it's a bit of a shock to see such little uniformity.
While Vessey's work appears to capture a moment in time, when print ruled, for him it's also about the order that comes through collecting."My work is about trying to establish a sense of order," he says on his website. "There is comfort in collecting things, studying things that people take for granted, grouping everyday objects in such a way that they become something special, seeing how they fit together to become a thing of great beauty."
More of Vessey's work can be viewed online at markvessey.com.
Posted: November 4th, 2014 | Author: Antonia Wilson | Filed under: Photography | Comments Off
The LPA Student Challenges are back, helping student photographers transition into the professional world and offering prizes including practical advice, industry experience and a taste of life as a photographer.
Pictured above: 2013/14 challenge one winner - Jamie Mellor
2013/14 challenge two winner - Lauren Stirling
Open to anyone studying photography in the UK, the competition sets a series of three photo challenges from October to May. The prizes include experience days such as The LPA Photoshoot Experience, The LPA Portfolio Critique and The LPA Marketing Masterclass, a bespoke portfolio worth over £1000 from Delta Design, other goodies and industry exposure.
Challenge one is underway, and calls for submissions of images on the theme on ‘challenge'. You have until 12 November, and the winning image will be used to promote the rest of the competition. In addition, the winner will attend a live casting or location recce, plus a day on the set of the shoot, as part of the LPA Photoshot Experience, and a goody bag too.
The winner and details of the second challenge will be announced on 28 November.
2013/14 challenge three winner - Edward Fury
Full details of challenge one available here
Additional info at lisapritchard.com/student-challenges
Posted: November 4th, 2014 | Author: Creative Review | Filed under: Advertising, Art, Books, Digital, Graphic Design, Illustration, Magazine / Newspaper, Music Video / Film, Photography, Type / Typography | Comments Off
The November issue of CR - our craft special - is also available for iPad, where you'll find all the print mag articles plus exclusive additional content in Hi Res, our showcase gallery section, and CRTV, with video profiles of creative people, animations and other moving image work from around the world....
In Features we feature several contemporary makers from bicycle builders Rusby Cycles, bespoke shoemakers Carreducker and The Brilliant Sign Company, right through to the latest virtual reality with Oculus Rift, Unit9 and Marshmallow Laser Feast. Plus Carter Wong, Erik Spiekermann, reviews of GraphicsRCA: Fifty Years and the British Library's gothic art show, and more. And not forgetting regular columns from Michael Evamy, Daniel Benneworth-Gray and Paul Belford.
In Hi Res you'll find posters from Abram Games; photographer Jonathan Knowles' Eyes series; toy design and graphics from Fredun Shapur; Lydia Goldblatt's Still Here photo series; David Bailey's East End; and Attack of the Giant Fingers found photo series from KesselsKramer.
CRTV includes virtual reality videos from Unit9 and Marshmallow Laser Feast; profiles of wooden textile designer Elisa Strozyk and graphic designer Max Kisman; animation with Chrisoph Steger's Mother and Nathan Campbell's Aqua Profonda, and a vision of Parisian chocolate craftsmanship by Simon Pinchochet.
To submit work for consideration for CRTV or Hi Res, please email firstname.lastname@example.org
For further info on the CR iPad app or to subscribe, click here.