Anyone, anywhere can now upload their latest work to the CR site at Feed. You have to be a registered user (join here, it only takes a minute and it's free, of course), and then Submit your work.
You can load up a maximum of six images in total plus YouTube or Vimeo movies. Full instructions here
Please don't post up your entire portfolio - keep posts project specific and recent. And please don't try to use Feed to advertise services, jobs or events. It's about the work - your work.
Once again, E4 and Creative Review are giving you the chance to get your work on TV via our E STINGS competition.
As ever, it works likes this: we want you to take the E4 logo and create an original brand sting that can be played out on the E4 channel. It can be live action, it can be animated, it can be 2D, 3D, 4D. It can be hi-fi, lo-fi, big-budget or no-budget. Simply download the E4 logo and a selection of soundbeds here and get going. The only rules we are cruelly forcing upon you are thusly:
• (a) it has to be something E4 can show in the daytime. So ease up on the exploding heads, guts, animal torture, toilet-based unpleasantness, full frontal nudity, etc. We won't be able to show it, which makes all of your lovely effort unfortunately a bit...pointless. • (b) It HAS to be EXACTLY 10 seconds long. If it's not 10 seconds long IT WILL NOT BE CONSIDERED BY THE JUDGES. Sorry, but we're feeling a bit strict this year. To make things easier we’re providing you with a choice of 10 second audio beds which you are welcome to use in your E STING (but feel free to use something of your own if you prefer!) • (c) It HAS to have the E4 logo in it... But you probably knew that.
After we've received all the entries, the judges will pick their 15 favourites to be played out on-air.
These 15 finalists will then be set a brand new task: to submit a storyboard or on-air treatment in response to a mystery brief. All of the finalists will be invited to a little soiree in London where we'll announce the winners. First prize takes home £5000 and two runners up will each get £500.
All you need to do is submit your E Sting in one of the accepted formats (wmv, mov, mpg, 3gp, mp4, mpeg) and fill out the entry form at the E4 website. Your E STING must not be more than 20mb in size.
All the details, entry form, rules, downloads etc can be found here
Deadline 25 August
Oh, and we’re also looking for designers and illustrators to create background images for e4.com and will be offering prizes for the best. Go to e4.com/estings for details.
Steve McQueen represents Great Britain at the 2009 Venice Biennale with a new film, Giardini. You can see a few excerpts from the work here, in an interview on the British Council site, or click through for some stills, which look rather beautiful in their own right...
The idea for situating the film in the Venice Giardini, the gardens that contain the thirty permanent pavilions used during the Biennale, came to McQueen when he was in the city for the 2007 festival.
The British Pavilion is a "beautiful building... monumental", he says in the interview on the British Council site, but also has a "human element... a human character".
BMB has recruited the wonderful John Shuttleworth to front a campaign for Yorkshire Tea. Genius
In an 'augented reality' version (shown above and accessible here), webcam-equipped Yorkshire Tea drinkers can geet Shuttleworth (aka comedian Graham Fellows) to serenade them atop their own box of tea (after some careful positioning).
Those of a more traditional bent can watch the TV ads
And here's some outtakes
Agency: Beattie McGuinness Bungay Copywriter: Simon Bere/Graham Fellows Art director: Simon Bere Director: Willy Smax
Regular readers of this blog may recall we posted about Farrow's design work for Pet Shop Boy's album Yes, earlier in the year. In that original post we showed the standard release but mentioned a forthcoming limited edition vinyl version of the album - which we can now show you photos of...
A collaboration between Farrow and the Pet Shop Boys, and produced by The Vinyl Factory, this version of the album sees its eleven tracks split over eleven separate super-heavyweight 200-gram vinyl records with exclusive b-side instrumentals, each in a coloured sleeve, all housed in a smoked, handmade Perspex case. These sleeves can be arranged like this:
Or, if you've got the space, like this:
Also included in the box set is a twelfth, white sleeve, which contains a fine art giclee print, hand signed and numbered by the Pet Shop Boys themselves, plus a credit sheet. There are only 300 copies of the box set worldwide and one will cost you £300.
We know it's tongue in cheek but is the Thinkbox ad really the best way to make the case for TV commercials?
I guess you have to feel for Thinkbox: here's an organisation set up to deny the seemingly inevitable. While all around, ad revenues plummet, Thinkbox's mission is to convince us that network TV is still the most powerful medium, no matter what those smart Alec digital types try to tell us.
It's chosen to do this with a commercial (natch) from agency Red Brick Road in which a man on a psychiatrist's couch, when prompted to go to a "happy place", blurts out a series of famous slogans from the annals of Great British Advertising. I guess it's hoping for a warm feeling from the viewer and a lot of "Oooh, remember that one?" type comments. Call me a humourless old git (as many do) but all it makes me feel is uneasy.
Afflicted with some kind of Commercial Tourette's, this poor man's brain has evidently been turned to mush. All reason gone, he has been reduced to a gibbering wreck by the incessant mythering of a million salesmen all clamouring for his attention. I'd prescribe a course of Sky Plus or maybe a TiVo - that ought to sort out the trouble.
It reminds me of this similarly misguided campaign last year for the Magazine Publishers of America (agency: Toy New York).
OK, yes, it's meant to be funny but this is supposed to be an aspiration? Reducing readers to mindlessly acquisitive zombies? They don't look very happy about being "under the influence of magazines" do they? When I first saw it I presumed it was an Adbusters spoof. Swap the endframes on the Thinkbox ad and you might assume the same of it too.
Work Associates looked to some of the Germanic influences on The Rakes' third album, Klang, to create their entrancing typographic sleeve for the release and the supporting singles. Here's how they did it...
Recorded in a former radio studio in east Berlin (and titled after the German word for "sound") Work based their imagery partly on Bauhaus principles and on colour theorist Ludwig Hirschfeld-Mack's 1920s experiments with various apparatus that could generate moving projections of coloured light. His processes were later explained in his booklet, Farben Licht-Spiele.
"Hirschfeld-Mack's idea seemed to convey the appropriate movement to suggest sound in a single image," explains Work's Rob Crane.
Ludwig Hirschfeld-Mack's original machine for projecting coloured light
"In his ‘Colour Light Plays' multiple coloured light sources were photographed through a cut-out mask. So we built a replica of his apparatus in the computer using Lightwave software."
Screengrabs showing the virtual apparatus, adapted from Hirschfeld-Mack's projection machine
The resulting letterforms were then re-drawn based on a Josef Albers stencil sans serif (which, actually, later became Futura Black) as the shape of the font was more suited to the cut-out masks originally used in the apparatus.
Back cover of Klang
Group shot as featured in the sleeve inlay
Work applied the same graphic approach to the singles 1989 and Reason.
The Glue Society has unveiled its latest installation at the Sculpture by the Sea festival in Aarhus in Denmark. The piece, entitled "It wasn't meant to end like this", is a huge mechanical digger that seems to have buried itself under 300 tonnes of rubble...
As the Glue Society's James Dive says, "[the work] has a subdued, still quality, despite its physical size." It certainly gives the impression that this 25 tonne digger is attemtping to hide itself away.
"It wasn't meant to end like this" follows previous artistic explorations via a sculpture of a miniature man defecating on a ten foot pigeon (shown in New York) and their infamous God's Eye View project, which attracted hundreds of comments on the CR blog.
Sculpture by the Sea, the Australian sculpture festival, has recently added Aarhus to its roster of visiting cities. Other work by the Glue Society collective can be viewed at gluesociety.com.
Basement Jaxx asked media artist Max Hattler to create stage visuals for their current tour: "There was no brief, no pitch, they just wanted me to do whatever I want – as long as it didn’t involve monkeys!"
Hattler was asked to create visuals for the track Where’s Your Head At on the band's current tour. “One day last autumn I got a call from Basement Jaxx’s management. Simon and Felix had seen my film Drift winning the award for best digital film at the London International Animation Festival. They liked Drift enough to trawl through my website and get their manager to call me," Hattler says. "I decided to base the concept on the grid structure of the LED display on which the visuals are shown. The 7 by 2 meter screen is made up of 60 square LED elements, four rows of 15 elements. I decided to go for a very flat aesthetic, in which the screen acts as a wall, rather than a window to a three-dimensional space. Each of the blocks that make up the screen becomes a tile in the makeup of the overall picture, a pixel in the construction of the visual narrative.”
Here's the piece in action:
Directed and produced by Max Hattler Animation by Max Hattler, Milad Firoozian (3D), Noriko Okaku, Rodrigo Vives, Papaya Gonzales.
In a feat of self-explanatory titling, David Lynch has just launched Interview Project. It is, as the filmmaker states in his video intro, "a road trip where people have been found and interviewed." Taking in 20,000 miles across the US, a new film will be up online every three days...
Despite Lynch's hilarious misgivings concerning watching films on the small screen, Interview Project's natural home is clearly the internet.
Viewiers can watch each short film online and also follow the route of the filmmakers as they trek the 20,000 miles from the US west coast to east (and back) in 70 days.
Lynch says that "the people who were interviewed – each... was different" and hopes that the films will offer viewers the chance to "meet these people." So far so vague, but this is partly the attraction of Lynch's project.
From the pseudo-quaint welcoming of the viewer who has "tuned in" to Interview Project, Lynch introduces the first of the films: Jess interviewed in Needles, California.
Jess talks briefly about his life, his regrets and, in the most poignant line of the film, reveals that his ex-wife "liked drugs and other men better than me".
With 121 interviews filmed so far (all billed as Coming Soon on the site) no doubt there will be some more surprises along the way.
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