As part of our Talent Spotters series of degree show reviews, Justin Barrow, art director and founder of Supreme design and branding agency, selects his favourite projects from the Arts University Bournemouth BA Visual Communication degree show...
I am always excited to see what's happening at the BA Visual Communication degree show at the Arts University Bournemouth and this year's graduates didn't disappoint. Aptly named Fridgeworthy, the studentsshowcased a great mix of graphic design, photography, illustration and printmaking and highlighted that the future world of design is in safe hands!
The 12th Man byStephen Flagg combines his love for football and visual communication and gives insight in the many layers of under-represented fan characteristics and reflects 'true fans' in a positive manner, through playful typography and familiar tactical image-making.
Lewis Bartlett's By Hand project is a celebration of the beauty of print, displayed though a series of posters and print plates, that showcase traditional print techniques such as relief printmaking and foil blocking, and highlight how these processes converge with new technologies.
Aizzah Hanis' Angry Grrrls Club Feminist zine and posters creates a space for every girl and woman in Brunei to express their thoughts and feelings about being a girl and a woman in a traditional society. Each illustration is based on the personal writings and thoughts of girls and women from Brunei and the style of illustrations reiterate the freedom that Hanis so strongly discussed within the zine.
The Farrant Avenue Project by Oliver Purrsey is a photo-documentary of his family's experience of community street culture in Wood Green, London, as the location transitions into a contemporary, anonymous, ever-changing environment. This project is a real celebration of place, visualised through some beautiful photography and brought together in a fantastic piece of editorial.
Sam Hodgson's The Human Experience is a playful insight into who we are and what it is to be human through four stages; consciousness, experience, language and culture. Through type and illustrative diagrams the project visualises how we interact with each other in the modern world, using experimental folds so that we can navigate the project in our own way, encouraging us to discover our own meaning of The Human Experience.
For more on the BA (Hons) Visual Communication at AUB show, go to:
Are you sick of all the nostalgic, inky, handmade imagery that has dominated our visual landscape recently? Is it time to embrace the potential of 3D, CG and digital imagemaking and talk about tomorrow rather than yesterday?
In our CGI special issue, designer Carl Burgess makes the case for digital imagemaking. Our nostalgic obsession with the handmade comes from the desire to play it safe, he argues. Digital imagemaking, in contrast, is risky, exciting and allows us to talk about our world today and our hopes for tomorrow
Subscribe now and you will receive the August issue as the first issue of your subscription. Subscribing is the quickest and cheapest way of getting Creative Review each month and you’ll receive special subscriber content and offers. Just go here to subscribe.
We look at a range of work that is pushing digital techniques to the limit, including a remarkable film by Warren Du Preez, Nick Thornton Jones and the team at Glassworks. Worship was commissioned by James Lavelle for the Meltdown festival and set to a specially written track by UNKLE
We interview photographer Giles Revell in whose hands hi-tech processes re-present traditional artistic subjects in unexpected ways
And Ben Koppel, a regular collaborator of Revell's, who, inspired by an ad in CR for Cinema 4D taught himself to become a freelance CG artist
Did you know that Len Deighton was a designer? Away from our CG theme, David Crowley and students from the RCA look back over the history of the college's Ark magazine and its glittering array of contributors, including Alan Fletcher, David Gentleman and Deighton, who designed the cover for Ark 6 in 1952
And we talk to the curators of the V&A's controversial Disobedient Objects show which looks at the design of objects and materials used by protesters around the world
Plus, Antonia Wilson visits The Barbican's Digital Revolution show and asks whether it still makes sense to talk about 'digital' as a separate entity - surely 'digital culture' is now just 'culture'?
Mark Sinclair takes in the weird and wonderful at Tate Britain's celebration of Folk Art
And AKQA's ECD Nick Turner asks whether, with the launch of its new Material Design guidelines, Google's design will finally catch up with the excellence of the other aspects of its products
Plus, for subscribers, we have a brillaint Monograph designed by SEA featuring 15 full-stops from typefaces in the Monotype archive
Subscribe now and you will receive the August issue as the first issue of your subscription. Subscribing is the quickest and cheapest way of getting Creative Review each month and you’ll receive special subscriber content and offers. Just go here to subscribe.
CR's pick of current and upcoming exhibitions, design events and creative activities including Graphic Advocacy poster show in New York, Divine Violence from Broomberg & Chanarin in Llandudno, Gibert & George in London, Barbara Kruger in Oxford, street artist Sickboy in London, Summer Screen Prints at Somerset House, The Power of Baked Rolls! poster ad show in Helsinki...
Graphic Advocacy: International Posters for the Digital Age 2001-2012 ADC Gallery, New York Until 15 Aug
Touring showcase of 122 posters demonstrating the medium's crucial role in social change - recording struggles for peace, social injustice, environmental defence, liberation from oppression, as tools for education, politics, and promotion - in this digital age, when multiple audiences can consume media through multiple sources and multiple channels.
After the New York show, it travels to Florida, Maryland, Indiana, Mississippi and Oklahoma, with more dates to be announced.
Broomberg & Chanarin: Divine Violence Mostyn, Llandudno Until 2 Nov
New exhibition from artists Adam Broomberg and Oliver Chanarin (winners of the Deutsch Borse Photo Prize 2013). Inspired by Bertolt Brecht's annotated bible, which Broomberg and Chanarin discovered in the Brecht Archive in Berlin, the duo annotated their own (entitled Holy Bible) - highlighting images of violence and destruction with photographs sourced from the Archive of Modern Conflict.
After initially publishing this in book form, it now goes on show as a full-scale exhibition, exploring visual representations of conflict and the connection between biblical catastrophe and modern governance. Other key works by the pair will also be on show, including Afterlife, a series offering a re-reading of the controversial Pulitzer Prize-winning 1979 photograph of the execution of blindfolded Kurdish prisoners; and The Day Nobody Died, a series of non-figurative, action-photographs taken without a camera in Afghanistan.
Get CR August on the iPad (out next week) for a closer look at the work from this exhibition. More info on the app and subscribing here.
Gilbert & George: Scapegoating Pictures for London White Cube, London Until 28 Sep
New show from the iconic duo, featuring giant photomontage work exploring urban existence, with a look at the changing face of London (their home for many decades), religious fundamentalism, drug abuse, and youth culture in the capital.
East London landmarks sit alongside burkas, buses, sinister bomb shaped nitrous oxide canisters, and of course depictions of the pair themselves in vivid blocks of red black and white. These are said to be some of their most outrageous works to date.
Solo show of new and recent work from the acclaimed conceptual artist, whose work combines bold colours, slogans and jarring juxtapositions of text and image, and explores and questions the strategies and manipulative nature of mass communication and consumer culture.
The exhibition includes a text based site-specific architectural wrap of the upper gallery space, alongside a series of classic 1980s paste-up works, and two films - Plenty LA (2008) capturing the gaze of the phone-obsessed consumer, and a four screen installation presenting a rare look at her film Twelve (2004).
Sickboy: Make It Last Forever Until 30 August The Outsiders gallery, London
Multi-disciplinary exhibition from UK street artist Sickboy, one of the leading artists to have emerged from the Bristol graffiti scene, presenting "a unique multimedia diary that seeks to outlive its creator, a rare opportunity to delve inside the chaotic existence of a nomadic talent".
His surreal, playful visual language appearing on large abstract canvases and other sculptures and interactive installations including temple shrines, a superman sculpture and a coffin, alongside ephemera from the artist's personal collection.
Summer Screen Prints Somerset House, London 31 Jul - 25 Aug
Film poster exhibition in association with Print Club London, with limited edition prints inspired by each film shown at Film4 Summer Screen at Somerset House, marking the event series' tenth anniversary. Print Club has selected an assortment of styles and artists including Rose Blake, Hattie Stewart, Kate Moross, Steve Wilson, Kate Gibb and HelloVon.
The Power of Baked Rolls! - Co-op advertising in 1950s Virka Gallery, Helsinki Until 31 Aug
Nostalgic show of '50s Finnish Co-op Union ad posters from the Labour Archives collections, featuring local food, eco-values, family life, pastimes and DIY, alongside seasonal window displays built in to the gallery space.
Jason Wilde's photo project Silly Arse Broke It brings together discarded handwritten notes that he has collected since 2003, around Clarence Way estate in Camden, London.
Many are records of everyday activity - functioning to remind, instruct, organize, and explain; there are lists, descriptions of journeys, and school letters; there's grand political and philosophical statements, and nonsensical, mysterious messages; some are friendly or familiar, others attack and blame.
Wilde suggests that he is collecting these once-private documents in an attempt to record the transformation of this community. These salvaged texts act on the imagination to help create an open-ended narrative about the people that might have written them, and invite the viewer to consider this multi-cultural, inner-city estate as characteristic of the ever-diversifying society of 21st century Britain.
We spoke to Wilde about his work, and how he came to be a collector of these little notes ...
Can you tell me more about your background - how did you first get into photography?
I left school at 15 and became an apprentice watchmaker which bored me stupid, so after trying my hand at being a labourer, a scaffolder, a courier (motor bike and lorry), a postman, a masseuse, a pen repairer, a picture framer and working in an industrial laundry, I thought I'd try photography. I completed 6 week evening course called 'Getting To Know Your Camera', swapped my car for a camera and then got myself onto a 2 year full-time photography BTEC, going on to do both a BA and MA in photography.
So you've been collecting thee notes for over ten years, what made you start collecting them and where and how exactly do you find them?
In an effort to tell a story about the Clarence Way estate I was making portraits of the residents and also collecting and photographing debris that I had found on the estate. Among the 30 odd pieces of debris were four handwritten notes which when I put side-by-side screamed out 'project'.
Since then whenever I have been walking to or from my flat on the estate I have been on the look out for discarded notes. I find about 10-12 a year in a variety of places but mostly near the communal bins.
Have you found related notes, and have these led you to form stories? Or perhaps it's the viewers who find connections themselves?
As it stands this is an ongoing project with two different edits, a defined book edit and an ongoing and open-ended exhibition edit. The book edit has a narrative that is defined by 50 images. The narrative is controlled by connecting elements within the individual notes, including symbols, words, themes and colours etc.
In order to alert the viewer to the fact that each note is connected to the one after, I have deliberately made the connecting element in the first four images of the book edit very obvious. The notes in the book edit also hint at a number of universal themes. It starts with the theme of love and ends by becoming a little dark in its mood. The book has yet to designed and published but an edit can be seen online.
Is there something particular about this area, or similar communities, that you felt needed exposure?
The Clarence Way portrait project did start out as an antidote to all the negative press that was being written about the estate, at the time and Silly Arse Broke It began with the same motive, but developed into something that goes beyond a simple political statement.
I still feel that the general way of thinking about these kinds of residential environments is very lazy and negative but that is no longer my main reason for continuing the work.
This project is one of a number of projects that I am working on that explores the idea of my local environment, which I define as the London Borough of Camden.
What made you choose to shoot them in this way?
Originally the debris, including the notes, were shot in various places on the estate (car park, balconies, lifts, door ways, stairwells, etc.), using available light and front on camera flash. The images produced were ok but looked too much like other projects that were being produced at the time. I then decided to take the notes into the studio and used lights and a medium format digital back with the idea to capture and foreground the details that one wouldn't normally look for when reading a note - things like dirt, tears, handwriting, paper weave, stains, ink colour, blotches, and so on.
The notes were shot against a white background and dead centre of a square format, making them the focal point of the image. I was much more pleased with these images but still not completely satisfied as they still lacked something I couldn't define.
The idea of using wallpaper as backgrounds presented itself, and, after a few test shots, the combination of note and wallpaper became the project. I chose to use wallpaper, not only because its colours and graphic elements make the images much more visually appealing, but because of the different layers of meaning they can offer. In the same way that the choice of wallpaper affects the mood and style of a room, it can have similar effect on my images of notes.
Wallpaper is vivid evidence of an individual's taste and can often reflect the age, status or gender of a house, and suggest notions of class and taste. The wallpaper backgrounds anchor the work to the domestic environment, reminding the viewer that these are conversations between family and neighbours, taking place in and around people's homes.
How would you describe your aesthetic?
All over the place.
Who or what are your creative influences?
Photographically I like the work of Anna Fox, John Davies, Mark Power, August Sander, Nadav Kander and Alec Soth, amongst others. Outside photography it's an endless list of songsmiths, comedians and filmmakers. I'm attracted to people that make the process of constructing a narrative seem an easy one, in any medium. And I'm a massive fan of WYNC's Radiolab.
Are you working on anything else at the moment?
Silly Arse is an ongoing project, but I'm also working on a variety of other personal projects.
Jason Wilde's Free Portrait Studio (ongoing since 2010) has visited a variety of venues in the London Borough of Camden and set up a mini mobile portrait studio, with 1680 portraits being made of the visitors, creating an ongoing and unprecedented visual archive of Camden.
My newest project, Vera & John - Part 1 and Part 2 (on-going), is a simple examination of Vera & John, my mum and dad. Part 1 is a still-life study of the contents of their bathroom cabinet. I plan to 'borrow' and photograph the products that they use and keep in their bathroom cabinet over a period of 1 year using the advertising still-life aesthetic. (Work-in-progress images can be seen here). Part 2 is a collection of handwritten notes that Vera has written to John and left on the kitchen table for him to read when he gets home or out of bed, including instructions about food in the freezer, kids coming for dinner and hospital visits. I've been collecting these for a number of years and although they have all been photographed, the project is still under construction in terms of edits and backgrounds.
For England Under 13's (on-going), I have visited 4 London Borough of Camden playcentres each year since 2009, and made a series of 200+ portraits of children. The aim is to make a series of images that give the viewer room to reflect on a child's role within modern society and on our own relationships with children.
Since 2003 I have been photographing the bathrooms of family, friends and strangers living on the housing estates of London and its satellite towns, for I'll Kill all your Fish (on-going). This series of still lifes explores the idea of the modern bathroom as a private place used by all members of the household for a variety of activities.
Im also working on an as yet undefined project, Estuary English (on-going), an exploration of the area known as the Thames Estuary with a large format field camera.
Online publication Four&Sons has released a beautifully designed print magazine, bringing together an inspired mix of dog-centric creative content.
"The initial thinking was: ‘let's see what happens when we look at all aspects of the life we live and love - art, design, fashion, music, travel, lifestyle - from a 'dog-centric' point of view'," says editor Marta Roca. "We then started to dig deeper into the creative relationship between humans and dogs. The light bulb moment came when we started to look at dogs as the ‘muse', as the inspiration."
The website was first launched in 2011, and last year they published an initial print version, the free, newspaper-style Four&Sons Journal. The project was originally created through a collaboration between Studio Matador graphic designer Roca, and product designer Christina Teresinski of luxury dog brand Best in Park, with editor and publisher Roca now working alongside Samatha Gurrie as editorial director.
Although based in different time zones (Roca in Melbourne and Gurrie in Brooklyn), the team worked closely to create the first issue, planning content and approaching artists, photographers and writers together, with Gurrie then working closely with the contributors with Roca designing the magazine.
The team finds much of their content via the artists and bands that they love, with contributors from across the world, along with taking submissions via their website, resulting in a mix of subjects and angles. "It's a fun subject but we have been careful not to fall into 'doggy' clichés. Our only no-no's is presenting dogs like little clowns or any unfair treatment of animals," Roca says. "It's very important to us that our content is culturally relevant and is also of interest to people who don't necessarily consider themselves 'dog-people'."
Issue one of this twice-yearly magazine includes features on iconic American photographer Elliott Erwitt who alongside his well-known candid images of famous figures also captured man's best friend; plus portraits and commentary on Guggenheim Fellow Mark Ruwedel's photographs of abandoned doghouses in the desert, Sony Photography Award winner Sophie Gamand's portraits of soapy pooches, and haunting shots of shelter dogs from Martin Usborne (whose dogs in cars won Best in Book in the CR Photography Annual 2012).
There are profiles on creatives and their canine muses, including artists Chris Johanson and Johanna Jackson; curator Kathy Grayson; and Alexis Krauss, front-woman of noise pop band Sleigh Bells. Plus a showcase of illustration from Nathaniel Russell; dog-related cultural chat with Strokes' guitarist Albert Hammond Jr. and visual humourist David Shrigley; an essay on HMV's Nipper; and lifestyle pieces on Soho's dog-friendly bookstore The Society Club and beautifully crafted homewares for dogs...
...plus a whole lot more (144 pages to be exact). As the tagline suggests, this is where "dogs and culture collide", but it's more than just another doggy mag, thanks to a combination of rich editorial content, with sleek design and layout, printed on different textured paper stock for each section, and just a few carefully selected advertisements.
"We want Four&Sons to be taken seriously, and given the subject matter we were mindful of presenting the content respectfully. We'd love it to cross over into the book realm, so the layout and typography are considerate and measured to allow the visual material to shine," she says. "A printed magazine was always part of the plan, especially after the success of our first year anniversary newspaper. We feel our content deserves to be on a medium that becomes an object, a gift, a collector's item. We are not a 'pet magazine' and we don't rely on news-based content, it's a publication to enjoy slowly."
Each year the Creative Review Photography Annual showcases the best in commercial photography. For 2014 we are introducing some important changes which will place the emphasis of the awards firmly on celebrating the power of the image to communicate ideas and tell stories in all media
Cover of CR Photography Annual 2013. Photographer: Tim Flach
• New categories • More exposure for your work • A celebration of the power of the image
Over the past decade, we have grown the CR Photography Annual to be a fantastic showcase of the world of commercial photography. In particular, the Photography Annual has provided photographers with a brilliant way to get their personal projects in front of our audience of art directors, designers and creative directors. It's no accident that the Personal/Non-published has always been our most popular category.
For this year, though, we are shaking things up a little. We want to celebrate not just the work of photographers themselves but also those who commission and art direct great images, whether that is in advertising, in a magazine, a book, online or via a photolibrary. So, new for this year, we are introducing categories for the best use of photography in advertising and marketing campaigns, in editorial (both magazines and books as well as related websites) and by fashion brands. The winning work in these categories will be shown in context ie as layouts, pages, covers etc
We are also introducing a category to celebrate the best images that have been commissioned by image libraries to help set standards in this important creative sector.
Selected work will be published in the special December 2014 double issue of CR and showcased to an invited audience of leading creative industry figures at our Photography Annual launch party. In addition, our winners will be showcased across CR's digital and social media platforms, reaching over a million people worldwide.
For full details, including deadlines, please go here
Cover of the 2014 CR Photography Annual. Photographer: Ewen Spencer
Cover image by Evaan Kheraj. Image from fshnunlimited's Instagram
In November last year, designer and typographer Paul Sych launched a bi-annual magazine showcasing work by Canadian fashion creatives. The second issue of fshnunlimitedhas just been published, and includes some beautiful custom typography, photography and illustration...
Each issue of fshnunlimited combines articles on emerging talent with imagery from Canadian photographers, artists and illustrators. It is put together by a team of creatives and writers, with Sych acting as art director.
Photography by Luis Mora. Image from fshnunlimited's Instagram
An associate professor at York University's Department of Design, Sych launched the magazine as part of a sabbatical research project. "The idea came about simply as a way to elevate the way in which we perceive fashion magazines in Canada," he explains.
"As I see it, the majority of Canadian fashion magazines deliver an overall commonality in terms of font selection, physical dimensions, content and, in turn, voice. I've always perceived them visually as one big magazine with different covers and logos...[so] I felt that there was ample latitude to create something new that embraces change," he adds.
Fshnunlimited isn't the only magazine which showcases Canadian creativity, but Sych says few exist on the newsstands. In mainstream magazines, he feels coverage of Canadian talent is limited.
"Larger mainstream fashion magazines highlight Canadian talent on occasion or when Fashion Week is approaching but they do not exclusively promote and showcase Canadian fashion creatives on an ongoing basis. The magazine was born to help discover emerging talent that would otherwise be forgotten," he explains.
Photography by John Lee. Image from fshnunlimited's Instagram
Kabuki Garden by photographers Jane+Jane. Image from fshnunlimited's Instagram
As well as providing a platform for new talent, the magazine contains a striking collection of experimental typography. Each image-led feature is introduced by a headline custom drawn by Sych to match the aesthetic of the piece, and lettering ranges from geometric to hand painted. On some pages, characters are overlaid, rotated and flipped upside down, forcing viewers to stop and engage with each letter to decipher the headline.
"The typographic headlines are meant to heighten the engagement between reader and designer," explains Sych. "I feel they are my personal contribution to the magazine’s visual voice, beyond my art direction and design, and they act as artistic punctuations throughout," he adds.
All of the lettering in fshnunlimited is bespoke aside from body fonts, but even these have been adapted and developed by Sych.
"The serif font is a remix of Tiffany, designed in 1974 by Ed Benguiat," he explains. "I created an ultra light version for the heads and decks, and when the font is presented at a larger scale, I scale the thins to almost a hairline to accentuate the contrast. I also remixed the font OCR and created two weights, an ultra light and light weight," he adds.
Aside from the experimental use of type, stylistic embellishments are kept to a minimum and Sych says there are no clearly defined principles when it comes to its design.
"The aim is to design something out of my comfort zone and enjoy the process while creating," he says. "It's a true collaborative piece of work, [and] working alongside such incredible talent makes my job look easy."
One recurring motif, however, is the cross symbol which is featured inside the magazine (detail shown, below) and on its cover (see top of post) – a homage to Sych's design studio, Faith, which he founded in 1990.
Art by Yangyang Pan. Image from fshnunlimited's Instagram
"I started the company in a recession and after meeting my first client, who was a little unsure about what I was going to produce, I mentioned to him "just have faith" and it stuck. At times, I utilise the cross icon in my work as a reminder of the past and to help define my future," he says.
In June this year, Sych received a gold award for his art direction of the inaugural issue of fshnunlimited at Canada's National Magazine Awards.His playful approach to type in the magazine is reflective of much of his work, which often blurs the boundaries between word and image.
"My approach has always been to be curious and brave," he says. "I've come to the point where typefaces are not even typefaces, they are just some random shapes - lines that merge, contoured planes, etc. I enjoy deconstructing them, rebuilding them, disassembling them, again and again until they take on a new appearance, then they breath new life as a more original form."
Fshnunlimited is available on newsstands at Chapters/Indigo and Canadian independent magazine retailers, priced at $13.99 CDN.
Back cover, featuring 'U' by Inkyung Choi. Image from fshnunlimited's Instagram
Dean Chalkley and Harris Elliott's London exhibition, Return of the Rudeboy, explores the 21st century resurgence of rudeboy culture. The show features some beautiful photographic prints, and we have one (above) to give away...
On display at Somerset House until August 25, Return of the Rudeboy offers a contemporary look a subculture which originated in Kingston, Jamaica in the late 1950s. Rudeboy style was a mix of sharp suits, shiny shoes, pork pie hats, skinny ties and swagger, but rudeboys were also associated with anti social behaviour, immortalised in songs such as The Wailers' Simmer Down and Stranger Coles' Rough and Tough. In the UK, the style influenced mod and skinhead culture, and was later associated with the 2 tone movement of the 1970s and 80s.
Today, Chalkley, a fashion photographer and Elliott, a creative director, say they have noticed a resurgance of rudeboy-inspired style on the streets of London. Their exhibition features photographs of over 60 impeccably dressed subjects, hailing from Europe and the US, shot in various London streets.
The exhibition also features mannequins dressed in rudeboy tailoring, installations made out of custom hatboxes and briefcases, a rudeboy barbershop and a soundtrack selected by the rudeboys featured. "It was imperative to us to ensure that visitors are able to embrace all aspects of the culture," say Elliott and Chalkley. "As a rudeboy, music is integral to your daily routine. The barber shop is an information hub...it is never simply a service station for having your hair cut," they add.
21st century rudeboys lack the notoriety of earlier generations, and the popularity of rudeboy-influenced clothing can be partly attributed to a growing interest in male grooming and tailoring, but Chalkley and Elliott dismiss the notion that it's merely a trend, describing rudeboys today as "defiant yet aspirational characters."
"To be 'rude' is more than just a fashion," they add. "The 21st century Rudeboy is, in a way, a subversive symbol of resistance...people are thinking that they want to regain their individuality, their right to present themselves in ways they want. Today's rudie appreciates and respects the past, and might incorporate certain elements in their look, but they are progressive, creative and forward thinking."
Alongside the show, Somerset House is hosting a series of rudeboy related film screenings, talks and Q&As, including a showing of 1972 film The Harder They Come on July 31 and documentary Duke Vin and the Birth of Ska in August.
To celebrate the exhibition's launch, Chalkley is giving away a photographic print (see top image) to one CR reader. One of only 50, it measures 50 x 70 cm and features rudeboys Shaka Maidoh and Sam Lambert.
To get your hands on the prize, all you need to do is tell us, in ten words or less, why you deserve to win, leaving your answer, name and email address in the comments section below. Points will be awarded to the most creative, rudeboy-inspired answers and the competition closes at midnight tonight (Thursday, July 17).
Return of the Rudeboy is open from 10am-6pm until August 25 at Somerset House, the Strand, London WC2R 1LA – see somersethouse.org.uk for details
Our August issue – a CGI special – is out next week. Subscribers get their copies first and it costs less than if you buy it in the shops. A bargain. Make sure you receive CR first each month by subscribing here...
And if you subscribe by Monday July 22, you'll received the August edition of CR as your first issue.
So what's in it this month, we hear you cry?
Well, in this issue we turn the spotlight on CGI and talk 'teamwork' with several of the industry's leading practitioners such as Smoke & Mirrors, Taylor James and Stanley's Post. We also have interviews with photographer Giles Revell and 3D artist, Ben Koppel.
Carl Burgess (More Soon) argues that, aside from generating beautiful work, digital image-making is a vital antidote to our current obsession with handmade nostalgia; and Warren du Preez and Nick Thornton Jones talk us through the film they made for the Meltdown festival, which worked VFX house Glassworks to the limit.
There are also features on the new Disobedient Objects show at the V&A, which features art and design made by protest groups; while the Royal College of Art's critical writing in art and design programme introduce their new book charting the history of the college's student publication, Ark. Plus we review the British Folk Art exhibition at Tate Britain and the Digital Revolution show at the Barbican.
Here's the cover (below), based on a concept by Carl Burgess and features artwork by Komba3D (which is available from TurboSquid.com).
If you're not yet a CR subscriber – why not take one out today? Order by Monday and the August issue will be the first issue delivered to you. Visit our Shopify page, here.
Fiera magazine is designed to help readers discover new talent at the world's furniture and product design fairs – and is set to launch this November having just reached its Kickstarter target...
The magazine, founded by Katie Treggiden (Confessions of a Design Geek) and magCulture's Jeremy Leslie, has been raising funds on Kickstarter and will now put all extra money that it receives towards the production quality of the magazine, says Leslie.
Fiera's intetion is to cover the world's best new furniture and product design from the various fairs that take place all over the world; from London and Eindhoven, to Lodz and Prague.
According to the founders the front half of the magazine will contain "high-energy coverage from the coal-face of the festival circuit". Editor Treggiden will also "share the stories of the people and processes behind the designs, bringing the shows to life in a way that you could only experience by being there yourself."
In addition to this the magazine will include long-form content, macro trend analysis, and opinion from a range of disciplines such as creative writing, finance, and travel. (The images shown here are of a work in progress dummy edition made in preparation for issue one.)
Fiera is set to be a biannual, 160-page publication priced at £20. You can check out the Kickstarter for the project, here and also pre-order the magazine before it reaches the end of its campaign tomorrow at 14.59.