There’s an unwritten rule that says that anyone writing anything even vaguely Easter-themed must sprinkle their prose with excruciating egg puns, but here at It’s Nice That we’re better than that. So all we’ll say is that The Fabergé Big Egg Hunt, launched in London yesterday, sees 209 giant eggs placed around the city as part of a fundraising stunt for Elephant Family and Action for Children. There’s cool ones, weird ones, funny ones and beautiful ones, eggs designed by artistic luminaries (Sir Peter Blake, The Chapman Brothers), eggs designed by creatives we love (Kate Moross, Bompas & Parr, Rob Ryan) and eggs designed by film directors (Sir Ridley Scott). Cracking stuff (so close!). (Read more)
Party is behind this new project for Intel Asia, to promote the brand's Ultrabook laptop. In order to demonstrate the Ultrabook's "thinness and responsiveness", the agency choreographed 60 people with Ultrabooks to create a flash-mob human digital billboard, otherwise known as the 'Ultrabook pop-up theatre'...
The film above shows the human billboard in action, providing accompanying visuals to a man hailing a taxi, a group of bodybuilders working out, and a girl on her birthday, amongst many other scenes. Check out the Ultrabook pop-up theatre site here for more.
Creative directors: Masashi Kawamura, Hiroki Nakamura, Morihiro Harano
Technical directors: Hiroki Nakamura, Qanta Shimizu, Nobuaki Arikata (Birdman)
Art directors: Masashi Kawamura, Ryo Roy Tsukiji (Birdman)
Designers: Junya Hoshikawa (Birdman), Shinichi Hirata, Miho Ishizuka
Animation: Junichi Arakawa (Birdman)
Film director: Hiroki Ono (Aoi Advertising Promotion)
Web production: Birdman
Film production: dof, Aoi Advertising Promotion, Clip Pictures, inc
Did you know there’s a place on England’s south coast bristling with creativity, producing increasingly interesting and eclectic work? Jog on Brighton, I’m talking about Hastings and at YCN’s east London shop there is a showcase of some of 1066 Country’s most exciting creatives. The quality is really high, but it was Zeroh’s moths which jumped out – marvellous geometric prints of native Sussex moths which they have also created on various walls in the town, using high-powered water hoses to clean off dirt and form the patterns. Beauty born out of grime, fragile and in a race against time – fitting motifs for a town like Hastings. (Read more)
It would be easy to feel over-saturated by the abundance of fashion photography around – online, in print, covering buses and billboards – but when you come across the likes of William Selden’s images you know you’ve stumbled across a good thing. The award-winning Brit has raised the bar, showing that by challenging the standard ubiquitous glossy shots, and continuously testing styles you can can stand out from the crowd. This new shoot for Dazed is ace, but there’s plenty to swoon at in his portfolio too. (Read more)
It’s amazing how often PR and marketing types tie themselves in knots dreaming up ways to push their clients’ products – the best way to get noticed is simply to make amazing work. GF Smith clearly feel the same and they are promoting their new Naturalis paper in the best way possible – by having StudioMakgill create something really beautiful. After interviewing fashion designer Oliver Spencer, they have produced this jaw-droppingly gorgeous publication which shows off the paper’s potential to its utmost and cements the company’s commitment to creativity. (Read more)
Increasingly, it seems, an event is not an event unless rapid draftsman Damien Cuypers is there to document it. The man responsible for the Two Minute Portraits during Frieze Art Fair last year is back in London and has put together this charming collection of on-the-move portraits at London Fashion Week. Considering the speed at which London fashionistas move, only the preternaturally talented Cuypers could be up to the job of drawing people as they flit from show to show. (Read more)
Issue 14 and 15 of ARC
The roots of the Royal College of Art's student-run journal, ARC, go back over sixty years. But unless funding for the production of the next issue can be found, it may already have printed its last. So the students have started a Kickstarter campaign and have several great packages on offer to encourage donations...
ARC is a continuation of the RCA's Ark magazine which ran from 1950-1978 and saw the likes of designers Alan Fletcher and Ray Hawkey, writer Len Deighton, and artists David Hockney and Patrick Caulfield involved in its art direction and design. In 2004, students restarted the magazine as ARC and, since then, the journal has been edited, designed and published entirely by the college's students with a different team brought in to work on each issue.
The forthcoming edition, archly titled the Death issue, will be the first to be created via Kickstarter. It is being edited by Charmian Griffin, Natalie Ferris, Elizabeth Glickfeld, Sarah Jury and Jamie Sutcliffe, while the designers are Matthew Stuart and Pedro Pina.
"We all work for free: the designers, the editors, every single contributor, even those who are usually better reimbursed for their time," say the ARC students. "All funds raised here are exclusively for print, packaging and postage."
Various RCA student magazines, including The Beam (1896), ARK 7 (1953), Ark 13 (1955), ARK 36 (1964). Alan Fletcher worked on Ark 13
While neglected in the 80s and 90s, the magazine has helped launch the careers of many emerging designers who are keen to work with print. "Many of our readers, practicing artists and art students, spend their time in the studio covered in the muck of their medium, not plugged into a laptop, " say the students. "For them, and for you, and a little bit for tradition, we would like to make something on paper."
As a further incentive to those willing to donate to the students' cause, ARC say that "every backer will have their name printed in the magazine. Depending on how much you can pledge, we will also send you the magazine, limited edition posters or works of art." Contributors can donate upwards of $1 to ARC on Kickstarter here or pre-order ARC 16 for $12 (£7.50 inc p&p). Full details of the students' plans for the new issue are also listed on the page.
Pledge around the $50 mark and you'll also receive one of the three posters shown below, along with a copy of the magazine (with your name inside) and an invite to the launch event.
ARC's own website is rcamagazine.co.uk.
The cover of Ark 46 (Spring 1970), one of three selected for reproduction as a poster by writer Michael Crowe. The actor Alan Rickman also worked on this issue (as a writer). Poster: A1, inkjet, printed at RCA. Please add p&p to your pledge as follows $4.50 (UK), $6 (Europe) or $9 (rest of the world)
Cover depicted by (then recent) RCA graduate Patrick Caulfield. Poster: A1, inkjet, printed at RCA. Please add p&p to your pledge as follows $4.50 (UK), $6 (Europe) or $9 (rest of the world)
The issue this poster depicts, edited by Derek Hyatt, was on colour symbolism and originally sold 3,000 copies in three days. Poster: A1, inkjet, printed at RCA. Please add p&p to your pledge as follows $4.50 (UK), $6 (Europe) or $9 (rest of the world).
The Exhibitionist may sound like a racy journal your uncle might keep in a secret drawer of his bureau but it actually does exactly what its says on the tin (cover) – it’s all about exhibitions. With its “made by curators for curators” mantra this is the go-to resource for anyone interested in how exhibitions work and emerging theories of how best to present art in a gallery setting. Like so many great magazines it’s aimed at a niche market but is invaluable if that happens to be your bag. And it is definitely our bag!
According to the IDA the design is "an artistic restructuring of Pangaea", the theory of "entire Earth" where, around 300m years ago, the world's continents originated as a single land mass.
The above graphic is thus composed of silhouettes of all the inhabited continents (shown below), from which the IDA and its partner organisations (Icsid, Icograda and the IFI) draws its members.
While they've permitted some artistic licence here, had the designers opted for what is thought to be the actual shape of Pangaea (with the east coast of South America slotting neatly up against western Africa) the result, a rather blobby letter 'C', would no doubt have proved somewhat less suggestive of world unity.
Pentagram's take enables the continents to be much more easily identified – at a larger scale at least – by keeping the recognisable country outlines visible (though I still can't find India).
When used at a reduced size, the shape becomes more abstract of course, but the studio's plan is that it remain flexible. The logo can apparently house the name of the particular country and year where each Congress is set to take place, while a system for "showcasing the unique attributes and culture of the host city" has also been created by Pentagram. This presumably would mean incorporating other graphic elements into the shape. The next IDA Congress is in Istanbul in Turkey from November 17 2013 so the design will no doubt get a proper run out in preparation for that.
As an aside, our abilitity to recognise the countries of the world by their shape and, in particluar, the rendering of Europe in the new logo reminded me of Slartibartfast's coastline design skills as demonstrated in The Hitchhiker's Guide to the Galaxy.
He was particularly proud of his work on the Norwegian coast – its sequence of fjords even won him a prestigious planetary design award. And you can just make them out on Pentagram's design, too.