Every year the Indianapolis International Film Festival invites local designers and illustrators to create a poster for select movies, which it uses as a build-up to the festival. The posters are then exhibited at the Indy Film Festival and sold as limited edition prints. Lars Lawson served as designer and illustrator for this “Dr. Jekyll and Mr. Hyde” poster, along with contributing artist Monty Sheldon and Timber Design. Not only did Lawson capture the character’s strange split personality, he managed to draw the typography so that it reads “Dr. Jekyll” from one direction and “Mr. Hyde” when turned upside down.
The other day we were lamenting that good art-directed, concept-driving original photography has become a rarity when we happened upon this Washington Life Magazine piece on the Washington Ballet’s production of “Alice in Wonderland.” Photographed by Dean Alexander with creative and art direction by Design Army’s Jake and Pum Lefebure, the photo essay presents a consistent and cohesive story line, communicated through thoughtful choice of lighting, scale, pacing, mood, poses, typography and layouts. Everything hangs together as a piece. The photos have a subtle narrative flow, beginning with the lost look of Alice in an innocent baby-blue dress, all the way through to the playful mid-air leaps of Tweedle-Dee and Tweedle-Dum and the White Rabbit, to the darkly surreal portraits of the Mad Hatter and the Queen of Hearts staring provocatively at the camera. Although Lewis Carroll’s tale of Alice in Wonderland is well-known, this photo shoot reveals strong art direction by Design Army to ensure that the make-up, hair and costume stylists, the photographer, and models are all working toward the same vision on how the story should be told.
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Clocking in at two minutes, this Honda commercial would be a very expensive ad buy on prime-time TV, but thanks to the accessibility of YouTube and Vimeo, audiences are seeking it out online. The Honda “Hands” ad starts with a cog, just like its award-winning Cog commercial (see July 24 post below). This time Honda teamed with Wieden + Kennedy London to “celebrate the curiosity of Honda engineers” who have made Honda the world’s largest engine manufacturer and racing company since it was founded in 1948. Through “slight of hand” and brilliant animation, the cog morphs into a dazzling array of products, from motorcycles and jet planes to solar-powered cars and robots. The making of this video, directed by Smith & Foulkes and Nexus Productions, is a technological feat in itself. For brands that think they don’t have the budget for such an ambitious production, consider this: Is it better to do something middle-of-the-road and run it on prime time TV or to create something awesomely original that people will “google” to see on their own. If it is good, it will go viral.
Some of you know that seven years ago I wrote a book called “The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946,” published by Ten Speed Press/Random House. As usual, it was designed by Kit Hinrichs (Kit’s origami flag assemblage below) and photographed by Terry Heffernan. After more than 30 years as a corporate writer, I suddenly found myself propelled in another direction and immersed in a subject that I largely avoided my entire life. Although I had no thought that it would make a good art exhibition, I began receiving requests from museums across the U.S. and the array of objects made from scrap and found materials by people imprisoned in the camps were exhibited in some of the nation’s most prestigious institutions, including the Smithsonian American Art Museum’s Renwick Gallery in Washington D.C. and the International Folk Art Museum of Santa Fe. Today it opens at the University Art Museum (Geidai) in Tokyo to kick off a one-year tour of Japanese cities. If you are in Japan, I hope you’ll take the time to see it. I’ll be back in my San Francisco office next week with more new posts. — Delphine
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There’s nothing superfluous in the branding and packaging of Good Food, the frozen food line made in Monterrey, Mexico. Designed by Face in Mexico, the graphics are minimal and clean. Sans-serif logotype. Silhouettes to show whether it contains beef, chicken or pork. A few descriptive words – “tasty,” “spicy,” “quick.” Simple and bold, the packaging graphics don’t over-promise, but just give shoppers the impression that what they’ll get is good, honest, undisguised flavors.
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Here’s a novel way to get consumers to test out your product. In March, Nokia announced a competition to shoot a short film entirely with a Nokia N8 mobile phone. It invited entrants to send in a story pitch and offered a $5,000 filming budget and two Nokia N8s to eight finalists.
“Splitscreen: A Love Story,” directed by UK-based JW Griffiths, won the first place award of $10,000.
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Coca-Cola has gotten very good at reclaiming the containers that hold its beverages. In 2010, it recovered 400 million pounds of cans and bottles in the U.S. alone. Much of this has been converted into everything from chairs and clothes to jewelry. But building a sustainable planet demands more than reclaiming product packaging, so Coke has come out with the industry’s first 100% recyclable merchandise display racks for use in grocery and convenience stores. Made from corrugated cardboard and soon from recycled PET plastic too, the merchandise racks are the first step toward a comprehensive closed-loop retail equipment program. Coke’s “Give It Back” rack is meant to be returned or recycled to keep it from being tossed into a landfill. The recyclable rack is being tested in select U.S. markets now and should be widely available before yearend.
The World Database of Happiness (WDH) at Erasmus University in Rotterdam, The Netherlands, has been conducting scientific research on happiness levels worldwide, in some cases taking measurements over a 30-year period. The WDH arrived at their happiness quotient by surveying their subjects’ overall satisfaction with life as well as their mood day-to-day. In addition to having the subjects self-rate their contentment level, the interviewers even conducted sight inspections, rating their subjects’ “cheerful appearance” based on eight aspects, including whether their mouth was turned up or down in a smile or frown and whether their movements looked relaxed or withdrawn. The data was basically broken down into not at all happy, not very happy, quite happy, and very happy. (WDH had lots of other happiness measures too complicated to understand, much less try to explain without becoming very unhappy.) Fortunately, Good and Open took WDH’s data and worked with Dorian Orange to create an infographic of happiness by country, using the familiar yellow “happy face” to illustrate the point.
Editor’s Note: In his inimitable style, Marty Neumeier, author, lecturer and director of transformation at Liquid Agency, makes complex marketing principles seem logical and easy to understand. Here from his book “Zag: The #1 Strategy of High-Performance Brands,” Neumeier explains why in a world of “look-alike products and me-too services” it is important for brand marketers to zag when everyone else zigs.
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