When up in London at the weekend, I spotted an excellent billboard for Inception, displayed on the Odeon Leicester Square tower (the same as the top left billboard below). The concept of blurring realities works fantastically throughout the suite. Beneath it is a poster comparison with The Dark Knight – hmmm, there appears to be a trend forming with Christopher Nolan films…

(Opinion: Jon Price – Designer)

We all believe that computer gaming over the past few years has become more interactive. To date, most of the ‘so called’ interactive games, still put you as another character within the game, such as ‘Drake’ in Uncharted (PS3). However, you are never actually yourself within the game. But surely, the whole point of interaction, is the ability to truly interact with the environment and the character/s within that environment and that they can react with you. I’m not talking about wearing a headset, or some eyewear trickery. What I’m talking about is the next generation of gaming, where you can talk to characters, show facial expressions and build a relationship with a character through the TV/Computer screen. You will have the ability to have conversations and truly interact with their environment in ways that you thought would never be possible. Anyway, enough of me waffling on, take a look for yourself – be prepared to be blown away – I was.

Article by Paul Mabin – Creative Director / Managing Director

It would seem that more than ever, designers, animators and filmmakers are using text within a real-world context. The release of Ubisoft’s Splinter Cell: Conviction saw the visual feature of mission objective reminders being projected into the environment, mapped over 3D space. The result is quite striking within gameplay and not only creates a unique visual style but as they are never part of a HUD, gameplay is that much more organic and free flowing – see the Developer Diary. Another nice example of a similar technique was used in CodeMaster’s GRID – which placed text into the world as lit and rendered 3D objects, allowing the player spin and pivot the camera around it in menu navigation and replays.

These techniques have been used for years within film title sequences, but there appears to be a growing trend to integrate them into the main viewing/user experience itself, which I for one am a fan of but only when used sparingly and most importantly, appropriately. David Fincher’s Panic Room title sequence is frequently noted as the first example of genuine 3D text in the real world, but I would like highlight a recent addition to the list… Zombieland. In this instance, the comedy horror was enhanced by the integration of its trademark rules being animated in-scene. They create laughs through comic timing and use this visual reinforcement to push rules such as ‘#2 Double Tap’ not only into the annals of cult film quotations but into the urban dictionary. Zombieland works because it pokes fun at itself, it breaks the 4th wall and has post-modern winks – feeling just as much like you’re racking up hi-scores in a video game as enjoying a passive cinematic experience. It’ll be interesting how many more films attempt to use environmental typography as a gimmick in a similar way, see: (Scott Pilgrim vs. the World)
before it gets tired. Enough talk, let’s watch;

This Month saw the return to paid-for news content as THE TIMES took a bold decision to charge for access to their online newspaper. A risky strategy from Mr Murdoch but the entire industry will be watching with baited breath to see if it pays off.

As I recall, back in the early days of the web this was the first business model of most of the newspapers as they dabbled with providing content online for the first time. This model was soon replaced by the user demand for free content online and one by one the papers moved over to an Ad generated model of providing content online, one which was probably a little foreign to most of them.

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After doing some recent research for one of our clients, I came across some advertising produced for BMW. Believe it or not, these adverts were actually used, but mainly in Greece. I’m not sure that we would get away with them in the UK. If you dig deeper into these campaigns and read forums and blogs, they have been causing outrage and controversy for years, with claims that they are ‘demeaning’, ‘sexist’, ‘chauvinistic’ and ‘degrading’. However, whether we like them or not, BMW must be having the last laugh. The very fact that people are talking about these adverts all over the world, whether in a good light or bad, can only be more publicity for BMW. As the old adage goes, their is no such thing as bad publicity – however, not quite sure BP would agree with that statement at the moment.

Opinion – Paul Mabin (Creative Director / Managing Director)

I get sent a lot of emails with various images attached and some of them are worth sharing. The guy who created these images is called Julian Beever and his work can be seen on pavements in England, France, Germany, USA, Australia and Belgium. Julian creates the images using chalk, but gives his images an anamorphic look. This is an extremely skilled and difficult way of illustrating and takes years of practice. But I think you’ll agree that he pulls it off amazingly well.

Article written by Paul Mabin (Managing Director / Creative Director)

It’s hard to feel anything but sorrow for the BP oil disaster at the moment. I’m sure that BP are getting a lot of stick at the moment, but it seems to have spurned a lot of creativity among us designer types. Not one of the images shown are complimentary, as you can imagine, but there are some well thought out and well executed pieces of art. Some people have obviously spent some considerable time thinking of the idea and obviously feel passionate enough to create a piece of artwork that gets their point across. Just click on an image to enlarge it.

Article by Paul Mabin (Creative Director / Managing Director)

I was digging through some old browser bookmarks recently and came across this story from August ’09. In case you didn’t know, to celebrate the iconic Pantone color swatches the Basheer Graphic Book agency built a PMS Rainbow that span 8 meters and was made of 5,000 colours. Sweet.

(Jon Price – Designer)

You’re never sure what’s real and what’s computer aided trickery when watching television advertising any more. It’s easy to be fooled by high-end CGI and the artists behind it will undoubtedly say that it’s the biggest compliment that you could give them. On the other hand, there is a general presumption that anything that might have presented something a physical, logistical conundrum is most probably CGI (and that it’s actually a doddle to do in Maya). It’s a shame that the most difficult hands-on route, with the biggest pay-off, is often left under appreciated – well, as long as it gives the desired affect… That’s why I was pleased to see that for the most part, the latest Samsung LED 3D TV advertising, much like the Sony Bravia (bouncing balls) ad, was done for real.

Take a look at the making above or see the full video here.

Earlier in the week I wrote an article on the Canon 5D MKII, shooting HD content for the last episode of House. While writing that article I was interrupted by the sound of Naaa, Na Na, Na Na Naaa. Yep, you guessed it – the intro to Coronation Street. Not a programme that I generally watch, but my beloved wife Donna loves it – I wonder how many men say the same thing? Anyway, I glanced over to see the intro and noticed that, at last, it has changed after being the same intro for about a million years or so. Apparently it’s to coincide with the first episode being broadcast in HD.

Don’t worry though, you hardened Corrie fans, the cat walking across the flat roof and the image of outside the Rovers Return are still present. However, those of you that don’t like drop focus imagery are not going to like it. I think it’s a welcome addition to the Street. Let’s hope that the rest of the programme gets updated – spoken by a true ‘Enders’ fan.

Well done ITV.

Article by Paul Mabin

As a budding amateur photographer, I always keep abreast on what is happening in the digital arena. I have recently purchased a Canon 5D MKII after much research. The reason for my purchase was to add something extra to my photography – higher resolution (21.1MP) as well as a better image sensor and full HD video capture.

I have been extremely impressed with the camera so far, after only a couple of weeks of use. However, I have been more impressed with some of the work produced by other companies using the 5D MkII.

The last episode of House aired on 17th May and was shot entirely on a Canon 5D MKII. The House director Greg Yaitanes was available after the programme to answer any questions viewers may have had by using twitter. One of the questions asked was “how was the quality compared to the cameras traditionally used?”. Gregs’ response to this was “I loved it and feel it’s the future – cameras that can give you these looks”.

Greg also used the entire range of Canon Prime lenses as well as Canon 24-70mm and Canon 70-200mm zoom lenses. The effects are amazing. By combining the use of such a competent camera, twinned with Canon prime lenses, the style of imagery created is simply stunning. The subtleties, the use of depth of field, the clarity and colour help make this episode a visual treat.

The outcome was as engaging as any other House episode. I don’t think this will be last time we’ll see a Canon DSLR camera being used in the same way for TV film production or for movies. You may even see a film from me in the future – if I ever find the time!

Article written by Paul Mabin

I had a genuine double-take when I drove past this!

Advertising Agency: DDB London, UK  -  Creative Directors: Jeremy Craigen, Feargal Ballance, Grant Parker  -  Art Director: Victor Monclus  -  Copywriter: Will Lowe
Photographer: Sarah Maingot  -  Designer: Peter Mould

See more from the Marmite Advertising Campaign series here…

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Every year the residents of Inakadate, Aomori prefecture Japan work together to create giant figurative pictures by planting different varieties of rice. Folksy yet sophisticated, the many designs reproduce images from famous Ukiyo-e prints to The Mona Lisa! Make sure you see these – if you’re in any doubt of their legitimacy, here are some more images…

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The recently launched Apple iPad may not instantly deliver the commercial impact of the iPhone, but it represents another important step towards the inevitable convergence of the personal computer and the publishing industry. Whether we like it or not, the way we design is going to change forever.

Before long, graphic designers (and photographers) will have to start working in a different way. Using devices such as the Apple iPad, the consumer will be able to access all kinds of ‘publication’ electronically – which will undoubtedly feature both still images and, increasingly, video content and animation. Not only is video more engaging, it is also easier and faster to consume – an important factor in today’s ever-busier society. Like it or not, most of us that don’t currently ‘do’ moving pictures are soon going to have to learn. (There are already professional cameras on the market, such as the Canon 7D, which can capture both stills and full HD video. This is no accident.)

Currently, many agencies deal with, say, press advertising entirely separately from digital, television and video; indeed clients often use a different agency for one than they do for another; but increasingly there’s a call for integrated campaigns and for agencies that can deliver value across multiple channels. Promotions are becoming multi-dimensional, which adds complexity (and an interesting challenge) for the agencies that dream them up. Ultimately the agencies that will gain an advantage are those that can become truly media agnostic – those that can combine static content with rich media and whose ideas can work across all types of platform.

It’s up to the design and photographic industries to embrace new technology and to guide their clients on this fascinating journey we’re all taking. Sure, this will mean investment and upskilling for many of us, but the benefit will be the ability to offer a more holistic approach to corporate communications and, with it, client retention and loyalty (not to mention how interesting all of our jobs will become!).

The iPad is another signal that the publishing and design industries are in the middle of a revolution.  We wait with bated breath to see where it will lead!

[Opinion: Paul Mabin - Creative Director]

Last week, after watching Shaun White win gold whilst nailing the Double McTwist 1260 (AKA the ‘Tomahawk’) on the snowboard half-pipe in Vancouver, I remembered the stylish promo animation for the BBC (seen above). The art style reminds me of early 1920s eastern european film, Frank Miller’s Sin City and the hatched illustrations of Edward Gory. For a more recent example of this 3d animation with 2d cel-shaded styling, take a look at Mad Word. It’s a great piece. A full motion picture in this style would be fantastic.

Having said that, I still love the Beijing 2008 BBC promo, ‘Meet Monkey‘, which was based on the classic Chinese tale, ‘Journey to the West’ and animated by those responsible for the Gorillaz music videos!

(Opinion: Jon Price – Graphic Designer)

2010/01 Michael Bierut from CreativeMornings on Vimeo.

A brand new talk from Pentagram’s Micheal Bierut on clients, the good and the bad.

(Opinion: Jon Price – Graphic Designer)

I saw two remarkably similar adverts from banks recently, both had building blocks on a beach in their national advertising. Above is an example of their campaigns – unfortunately I didn’t get a pic of the adverts in question. Coincidence, a new design trend, or the same agency running out of ideas? No, my guess… a mole deep under cover in their marketing team

As recently published in Design Week, you can play the Santander Red Brick Game for some lunch time fun.

(Opinion: Jon Price – Graphic Designer)

Old news it may be, but Jérémy Clapin and Stéphane Piera’s 2008 Oscar contender ‘Skhizein’ is an absolute must see. For those who missed out on this beautifully realised and curious tale of Henry and his slightly displaced universe, here it is in full. Quintessentially quirky and French, it’s a joy to behold full of original ideas and visual cleverness not to mention rock solid art direction and admirable follow-through in all aspects of the execution.

Available here to buy on DVD with an insightful making of.

Thanks to monographer.

(Opinion: Jon Price – Designer)

Whilst perusing the affordable Scandinavian wares of Ikea, I happened upon a particular sequence of wall graphics that told the story of how Ikea’s savings are passed on to the customer. Strangely, only five of the seven ‘Ikea concept’ panels used correct spelling with the remaining ones neglecting to use apostrophes (the above example also has a rogue space before the question mark). I’m now well versed in Ikea’s efficient production and distribution methods but surely they could have spent a few extra euros on spell checking. We’ve all made mistakes, but three in twenty nine words at 124pt nationwide is quite special. At first I thought ‘trust me to notice that’, so my biggest smile came from the huge ‘Thats why!’ that came after the equals sign, where a staff member had pasted a cut-out apostrophe on the wall!

This is the Ikea concept as it should have looked!

(Opinion: Jon Price – Designer)