Beautiful photography by Edwin Tse.
Beautiful photography by Edwin Tse.
Winning submissions will feature in a campaign celebrating Earth Hour on March 29 2014, alongside work from 26 leading creatives. Last year’s contributors included Google creative director Tom Uglow, photographer Dean Chalkey, 2012 Olympic logo designer Patrick Cox and seven Pentagram partners.
The competition is open to all UK residents aged between 16 and 25. Posters can be about anything that promotes sustainability – from walking more to eating less meat – and can use any medium, from graphic design to photography, illustration, advertising and product design.
The deadline for entries is January 13 and finalists will be invited to a creative mentoring session at Pentagram on January 22 to refine their designs. The top three submissions will be decided by a public vote in February.
Entries can be submitted online or through the post – click here for details, or here to see last year's posters.
Posters (from top): Dean Chalkley, Marina Willer, Karin Rubing and Andrew Rae.
The December issue of Creative Review shares a spine with our Photography Annual 2013. In addition to 80 pages of the best photographic work produced in the past year, we have features on the enduring appeal of ad characters, Richard Turley and Bloomberg Businessweek, Hatch Show Print, and profiles of filmmaker Andrew Telling and photographer Julia Fullerton-Batten...
At 204 pages, the combined December issue/Photography Annual is one of our biggest to date. And being a special issue, it's available with three different covers, each featuring an image from one of our Annual Best in Book winners.
Shown above is Amira, shot by Spencer Murphy as part of a campaign for Save the Children; while below are the other versions featuring Ya Yun, photographed by Tim Flach; and Nala from Julia Fullerton-Batten's Blind project.
Here are a couple of spreads from the Photography Annual side:
Julia Fullerton-Batten's Best in Book spread
Pip's series The Freerunner
And Jonas Jungblut's image, King Monkey and the Infinite Sunshine
In the regular issue we take a look at Anthony Burrill's new pull-out-poster book, I Like It. What Is It?
Eliza Williams gets her head around the hi-jinks that bookmaker Paddy Power and its ad agency have been producing...
... and she also looks at the enduring appealing of 'characters' in advertising, from Martians to monkeys.
Mark Sinclair talks to Richard Turley, creative director of Bloomberg Businessweek, about his team's radical design of the US magazine – and how they regular 'breaks' Helvetica in the process.
Cover Lesson looks at some of the theories on creating the perfect mag cover which emerged from The Modern Magazine conference – featuring BBW, The Gentlewoman, Eye, Apartamento and more.
Rachel Steven talks to Andrew Telling, a filmmaker and composer who makes documentaries and writes scores for brands and visual artists.
And Antonia Wilson meets photographer Julia Fullerton-Batten, creator of images that blend fact and fiction to beautiful effect.
In Crit, Rick Poynor looks at a new book on The Art of Collage...
... while Mark Sinclair reports back from The Modern Magazine conference.
Gordon Comstock applauds the work – and portfolio presentation skills – of creative team, Jacob & Jim.
While Paul Belford looks at a surreal – not to mention deadly – campaign for B&H from 1985; and Daniel Benneworth-Gray stresses the importance of designing to music and how the two disciplines share underlying languages of repetition, colour and shape.
Finally, in this month's subscriber-only Monograph, we feature some of the results of a collaboration between CIA illustrators, agency AMV BBDO and the V&A Museum of Childhood – where illustrators were paired with children, aged between three and 12, to interpret their vision of tomorrow.
Final year students up and down the UK are beginning to plan their degree shows and, dear readers, they need your help. What did you learn from your own show and what do you wish today's shows did better?
If you're a recent graduate:
What tips would you give next year's grads when it comes to the show?
Is it worth doing a physical publication or should they just have a website?
Should they theme the show?
If the college is based outside London, is it worth doing a London show? As part of a group show eg New Blood or standalone?
What about the work: how many projects should you show? Personal work or work for briefs such as D&AD?
How do you divide up the space fairly but in such a way that you can create an engaging show?
Anything else you learned?
The Kingston graphics show from 2013
If you're a designer, creative and/or employer:
Do you attend degree shows?
If so, are you going with the intention of looking for someone to employ or just out of interest?
What do you want to see at degree shows?
What are your biggest frustrations with/criticisms of degree shows?
Is there any point to students doing printed catalogues or would you rather just view work online?
Any other tips?
What was the best degree show you ever went to and why?
Please give us your thoughts in the comments below and let's help improve the degree show expereince for all
Last week saw the publication of two additions to Penguin's series of influential texts on art, design and photography – a new collection of John Berger's writings, Understanding a Photograph, and a new edition of Eric Gill's An Essay on Typography from 1931...
Edited by Geoff Dyer, Understanding a Photograph brings together some of Berger's most well-known essays on the subject and several previously unpublished pieces. Photographers whose work he examines include Nick Waplington, W. Eugene Smith, Henri Cartier-Bresson, André Kertész and Sebastiao Salgado.
Other themes addressed include how images of imperialism have been conveyed via photography; the use of photo-montage in political image-making; representations of agony in photography; and, in an examination of a series of images by August Sander, an analysis of "the suit" in the photographer's early-twentieth century portraiture.
Above: Making the letters as black as possible defeats the object of the poster, Gill wrote. The poster on the right offers more differentiation between letters and increased legibility, while still using thick text
Eric Gill's aim with his essay was to write of the two worlds of "industrialism and that of the human workman" as he saw them in 1930, when he completed the essay, and how the crafts of typography and printing had been affected by those conditions.
"One after the other the crafts, which were formerly the workmen's means to culture, are being mechanised more or less completely," he wrote, "& now only such things as musical composition & painting pictures & giving lectures on the wireless, demand the actual responsible skill of the human being who does them."
Gill offers great insight into the conditions of the day before beginning an examination of lettering, type, paper-cutting and ink, the printing press, the book, and the 'Procrustean Bed' (the compositor's stick).
First published in 1931, the book went through several early editions, the most recent being David R Godine's 1993 publication (itself hard to get hold of). Penguin Modern Classic's new version references the design of the first edition, but does away with some of the more descriptive text (the 3rd and 4th editions were simplified further still).
First edition photo from fontnotes.com
3rd edition on sale at abebooks, here
It is a highly readable text and contains many a line that sings. The last section of the concluding essay But Why Lettering, for example, reads like a call-to-arms. Having decried that "the business of printed lettering has now, under the spur of commercial competition, got altogether out of hand and gone mad," Gill concludes that – "The only way to reform modern lettering is to abolish it."
Some lines are more memorable for their phrasing, such as:
A print is properly a dent made by pressing; the history of letterpress printing has been the history of the abolition of that dent.
There are now about as many different varieties of letters as there are different kinds of fools. I myself am responsible for designing five different sorts of sans-serif letters – each one thicker and fatter than the last because every advertisement has to try and shout down its neighbour.
An Essay on Typography and Understanding a Photograph complement the other titles in the Penguin Modern Classics series published five years ago – and also designed by Yes – Berger's Ways of Seeing, Design as Art by Bruno Munari and On Photography by Susan Sontag, the latter two shown below.
More details at penguinclassics.co.uk.
While it's only open for a few more days, the ICA in London's small exhibition on the work of gallerist and book designer John Cheim is well worth a visit...
Cheim is one half of the Cheim & Read gallery in New York but he has also been a prolific designer of artist's books for 30 years, having originally studied at the Rhode Island School of Design.
The ICA's Fox Reading Room features a series of glass cases which house a selection of his (often extremely rare) books for artists and photographers such as Ed Ruscha, Andy Warhol, Bruce Weber and Louise Bourgeois.
One of the most unusual books on show is The Print Book, below, from 1976, which contains a range of flattened objects. A couple of monitors also show more of Cheim's work, including books for Gilbert and George and Jean-Michel Basquiat.
A lovely inclusion, which I only noticed on the way out, is one of Cheim's elementary school report cards from 1964. It is filled out by the school principal, Noble E. Freden, who offers some encouraging words to the young designer.
Design by John Cheim is open until Sunday (and is free). More details at ica.org.uk. The show will also go to White Columns in New York later in the year.
Spencer Murphy's post-race portrait of a mud-spattered and exhausted Katie Walsh has won the National Portrait Gallery's Taylor Wessing Photographic Portrait Prize. The image of the Irish jockey was taken for Channel 4's The Original Extreme Sport campaign, at Kempton Park Racecourse.
"I set up at the side of the racecourse and pulled in the jockeys as they finished their races," Murphy says. "I was keen to include Katie. I wanted to show both her femininity and the toughness of spirit she requires to compete against the best riders in one of the most demanding disciplines in horse racing."
Shooting on large format film, the London-based photographer wanted to give the image "depth and timelessness", which he felt would have been harder to achieve on a digital camera. See more of Murphy's work in CR's Photography Annual 2013.
Second Prize went to Giles Price for Kumbh Mela Pilgrim - Mamta Dubey and infant, from a series shot at the 2013 Kumbh Mela Festival in Allahabad, India.
In third place was Anoush Abrar's portrait of Ghanaian diplomat Kofi Annan, who served as Secretary-General of the United Nations until 2006, which was commissioned by ZEIT Magazine.
And winning fourth place was The twins by Dorothee Deiss, from her project VisibleInvisible, a less conventional portrait taken in the home of the twin sisters.
The prize aims to showcase work from emerging young photographers, alongside established professionals, and 60 portraits, including winning images, from the 5410 submissions, will be exhibited at the National Portrait Gallery from 14 Nov 2013 - 9 Feb 2014.
Fabio by Andy Massaccesi, and Untitled (Citizens of Porto-Novo) By Leonce Raphael Agbodjelou
Harajuka, Tokyo, 2013 by Julia Fullerton-Batten. See more of Fullerton-Batten's work including a feature on the photographer in CR's December issue.
Cat & Phil - Painting of Love by Richard Alexander Pilnick, and Martyn, Sean and Jacob by William Lakin
Holy Mother by Erik Almas
Oscar Niemeyer was a Brazilian modernist architect known for his design of Brasília, and his work on the United Nations building in NYC. His design for Brasília is always an inspiration for me. The way he worked with the lines and space really make it a beautiful and functional construction.
These wonderful photos taken by Marcel Gautherot bring out the beauty in the architecture. You can see more of them, and read more about Brasília, in this article.
Aisling Hurley's Pink Teddy
With their worn down fur, missing limbs and worryingly loose stuffing, the cuddly toys photographed for Mark Nixon's new book truly know what it is to be loved...
Sixty portraits of bears, bunnies and other animals roughed up by years of affection feature in Nixon's series, Much Loved, which is published as a book by Abrams Image next month (£10.99). More of the teddies are featured on The Guardian, here.
Frances Curtin's Ted
Gerry Ryan's One Eyed Ted
Lua Spencer's Flopsie
Shane Haher's Bobo
Nicky Griffin's Teddy Tingley
The November issue of Creative Review is 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 Review is also available for the iPad
A new double exposure photography app, Dubble, lets users shoot and upload images which are then matched with a random stranger's...
Dubble was founded by Adam Scott - a photographer and former MD of Lomography UK - and developers Angelo Semeraro, Ben Joyce and Uldis Pirags. It's free to download and aims to rekindle the excitement of waiting for analogue film to develop.
“I'm from a photography background and have always loved shooting and developing film. I also used to like doing 'doubles' - swapping film with other photographers and developing each others' pictures,” says Scott.
“I got very into smartphone photography in 2011 and 12 but there was still something missing: that element of surprise when you're developing film and have no idea how it will turn out. One day, I was walking home from work and thought it would be really good to make an app that brought that experience to smartphones,” he explains.
Dubble isn't the first app that lets users experiment with double exposure or photo sharing - Rando users can gift and receive images from strangers and Instablend, Mexposure and Camera360 have multiple exposure features – but it's the first we've seen dedicated to social doubling.
The app is still in the early stages of development but it's easy to use and nicely designed. Photos can be shared via Facebook, Twitter and Flickr and dubble is working on making the app compatible with Flickr and Instagram.
“Angelo [who was responsible for designing the app] is a real app addict and has several years of experience working on user interfaces. The doubling process is quite complex, so we wanted to simplify the app as much as possible. It's very gesture based – you swipe rather than tap to zoom and share images, as we think people will move away from tapping in future – and it has a flat look like ios7. We started designing dubble at the start of this year, months before ios7 was released, but were really pleased when it came out as the app's a perfect match for it,” adds Scott.
Random doubling will probably create more bizarre imagery than good, but that's half the fun of Dubble. Pictures are matched quickly – in just a few seconds, my shot of the bus stop outside my house had been twinned with one of some runners in the Scottish countryside and Washington DC's Smithsonian Museum – and the caption function allows each photographer to assign a story and hashtag to their picture.
The app isn't monetised yet, but future plans include paid for extras, follow-up apps and an online store selling photography and smartphone accessories. Scott says he doesn't want to compete with Instagram or Flickr, and hopes instead that dubble will become “the go to place for creative, collaborative and fun photography.”
It could also prove a useful marketing tool, particularly if group features or functions pairing photos with similar themes or hashtags are introduced.
“We've been pleasantly surprised by the quality of images people have uploaded so far and you can create some really nice work with it," he says - provided, of course, that it isn't hijacked by users posting 'selfies'.
Dubble is free to download from the iTunes app store. For more info visit dubble.me