Wednesday, October 21
Sunday, October 4
I have seen this advertisement, along with numerous other similar ones around the Hyde Park area. They are advertising 118's online menu and instead of being sprayed on the floor in paint (which probably would create some negative publicity for the company), the pavement around the stencil has been cleaned, making the advertisement stand out. I think this is a really clever, unusual way of advertising. It's quirky, unique and memorable; i love that it's not in any way damaging, but in fact the total opposite.
Thursday, October 1
It's a question that's lingered for quite some time, but never really been properly answered: Is shock advertising effective, or are the audiences too shocked, and busy complaining to take notice of the advert's actual message?
The main companies I can think of that manage to create plenty of enemies and receive masses of complaints are Benetton and Barnardo's. One particular Barnardo's campaign that featured in several newspapers before being banned consisted of a baby injecting itself with heroin. There are some positive reviews however - some think shock is necessary in order to successfully deliver the message:
"Anything that wakes people up to this is for the better. People sit around with their heads in the sand too often" - Roger Alton, The Observer.
The editor of the Guardian claimed that its readers were sophisticated enough to deal with it and understand the message. However this clearly wasn't the case. It's likely that audiences will be more accepting of shock advertising if it for a good cause, but sometimes charities can't even escape the fact that their message won't outweigh the horror that the audiences feel. I think this'd be a great subject to investigate further, as I'd really like to explore whether it is possible to ethically deliver such a shocking message about such horrific topics, or whether shock is the only way forward.
About a year ago, as I was gazing out the window of a coach whilst heading down the M62, I saw what I thought was a giant white head on a hill gazing right back at me. And then it was gone, we'd passed, and I had no idea what, why and even IF it was there. But of course, it was. I look out for it each time I pass, and it literally is a huge sculpture of a head. It wasn't until I was watching Channel 4's Big Art programme that I discovered the 20 metres high 'Dream' was designed by Jaume Plensa. It takes the form of the head of a girl with her eyes closed, in a seemingly dream-like state. The artist intended the sculpture to represent looking towards a brighter future and creating a beautiful place on what was a former spoiler heap.
I think the piece is highly inspirational and the 'brighter future' is well-represented as Dream pays no attention to the relics of heavy industry around - or beneath - her. Her zen-like meditation will remain no matter what.
Tuesday, September 29
The Henry Moore institute in Leeds' latest exhibition explores the relationship between art and 3D. A campaign, starting next week aims to maximise the number of visitors by using large-format graphics, posters, and giving away free merchandise. It sounds like the campaign might reel in the visitors, but I just hope the exhibition itself lives up to all the hype. Having seen several exhibitions at the Henry Moore institute, I can't say I've ever been overly impressed; The last one, 'The New Monumentality' was hardly exhilarating.
The identity, branding and packaging of a new range of Tetley products, 'Good Earth' is currently underway. The new product is organic and is based around 3 principles to display its properties:
- Good for the planet
- Good for others
- Good to you
The 'secret' halo above the 'e' in the logo reflects the product's 'goodness', as do the soft lowercase letters. Not obviously linked to Tetley's, and with a sense of honesty attached to it, I think this product will prove quite popular.
The building itself is aesthetically impressive, covered in zinc tiles and LED columns; it's the perfect home for such an expressive and stimulating complex. Facilities include galleries for moving image and streaming media broadcasts, a Medialab for workshops and the development and production of artists' projects and The Box gallery and projection space. Not to mention a cafe, bar and 3 cinema picture house, screening the latest arthouse releases.
FACT really is an inspiring organisation, providing endless opportunities in the world of film and new media. Definitely worth a visit at least.
Saturday, September 26
Channel 4 provides the Directors with £4,000, and offers them their assistance in making their short film. This is a great way of getting their name out there, and pushing them one step further towards their ultimate goal. Channel 4's 4talent also runs competitions, so the winners get even more publicity. Any up-and-coming Director should jump at the chance to help their career, and when handed on a plate like this, it is the perfect opportunity.
This is one example of the short series, a 3 minute documentary about street art:
Texan artist Cara Barer bases her work on taking photographs of the edges of pages, in whimsical and elegant positions. Her inspiration came when she photographed whe intricately bent pages of a wet Yellow Pages book. After this, she moved onto other books, carefully positioning the pages into beautiful designs on a studio black background.
Barer does not consider herself a photographer, but simply an artist who uses photography. She takes into consideration the size of the book, the quality and colour of the paper, and her designs are often even influenced by the content of the book.
The final photographs are really impressive, and display great depth - it's unclear how they have been created on initial viewing, but I think discovering the 'page design' only makes them even more effective and inspiring. What an absorbing and original type of art.
Friday, September 25
The first was well thought out, dark, twisty and like nothing I've seen before. Great!
The second was predictable, gory, hectic and yet somehow still pretty good.
The third was sickening, far-fetched and a step too far.
So six films later, I'm not quite sure what the producers are thinking, or where they are going. It's not original anymore - hopefully they're not going for a horror version of James Bond, because I'm not sure I can cope with 21 Saw films. Not that it directly affects me, but they're taking up precious cinema slots.
Defintely less a case of 'Do you dare?' and more 'Do you care...?'
As I was obviously missing something, I decided to check out Reestore's website, and it turns out, some of their designs aren't half bad. I can totally imagine some of these designs being a modern interior designer's idea of luxury...
A gear box table?
A plane wing table?
Can't say I'd ever want a bath in my living room though!
Sunday, September 20
Recently, the cleverness of Amazon's logo was brought to my attention, where the 'a' and the 'z' are connected with an arrow, implying that they sell everything from A to Z.These really are the most effective, memorable logos. Just take a look at the logo for The Guild of Food Writers. Clever illusions within logos are definitely the way forward.
Boy falls in love.
I've got to admit, 500 Days of Summer is quite an emotional journey not only for the characters but for the audience too. The film follow aspiring architect Tom's growing obsession with work collegue Summer, however as stated in the opening, this is by no means a love story - more of a break up story. As a retrospective film, the audience's emotions are unsettled from the start when the end of the relationship is shown first.
I enjoyed so many aspects of the film, paticularly its quirky nature. Normally I'd cringe if one of the main characters broke into song and dance (unless of course I was watching Grease), but the Director really pulled it off. The seasons, wardrobe and production design matched the emotions of the main charater - noticeably duller when he was feeling down, and the killer soundtrack assisted in making the audience feel truly zealous and emotional.