Creative Boom https://www.creativeboom.com/ Creative Boom is a UK-based online magazine for the creative industries, offering inspiration and ideas for creatives worldwide UAL student Shihui Li highlights animal extinction through sugar-spun folk art Mon, 18 Mar 2024 12:00:00 +0000 Tom May https://www.creativeboom.com/inspiration/ual-student-shihui-li-highlights-animal-extinction-through-sugar-spun-folk-art/ https://www.creativeboom.com/inspiration/ual-student-shihui-li-highlights-animal-extinction-through-sugar-spun-folk-art/ When themes of social justice are built into the curriculum, they become embedded into the wider picture, helping us to both imagine and realise more just, sustainable futures. Interaction Design s...

When themes of social justice are built into the curriculum, they become embedded into the wider picture, helping us to both imagine and realise more just, sustainable futures. Interaction Design student Shihui Li found a beautiful, original way to highlight the decline in biodiversity for her final year project at UAL.

One of the best things about the design industry is that, in our experience, it genuinely welcomes all kinds of people. And that's certainly the case if you're applying for a course at University of the Arts London (UAL), which prides itself in encouraging diversity in terms of everything from personal background to creative outlook and experience.

And there’s a good reason for this; it boosts creativity. Because the more voices and experiences you're surrounded by, the more your eyes are opened to different ways of seeing the world.

We recently saw a great example of this principle in action. Shihui Li, a student on the BA Interaction Design Arts course at London College of Communication, wanted her final project to inspire others to think about how their choices of what to eat impact the environment. And she produced a highly original way to do so.

To spotlight the issue of biodiversity loss, Shihui crafted caramel figures of extinct animals using traditional Chinese sugar painting.

The story of sugar painting

It's a well-chosen metaphor because the practice of sugar painting itself is verging on disappearance.

This ancient Chinese folk art traditionally depicts animals of the zodiac or scenes from myths and legends. Its origins stretch back to the Ming dynasty, when aristocratic families and government officials moulded small animals made of sugar for religious rituals.

After that period, as techniques improved and the practice became more popular, folk artists combined the moulded sugar with other art forms, such as shadow play and paper cutting, to create a more diverse range of patterns.

Over generations, sacred sculptures morphed into secular sweets as sugar became more affordable. Skilled artisans crafted increasingly elaborate boiled sugar figures for temple fairs and festivals. The craft slowly grew into an integral part of Chinese culture, with distinctive regional styles blossoming across the country.

Disappearing act

Today, like many folk arts around the world, sugar painting is dying out. As factories churn out cheap, mass-produced candies, the number of artisans practising this exacting discipline is dwindling.

"When I was a child, sugar paintings were common in the streets," recalls Shihui. "Nowadays, they can only be seen at some Chinese festival fairs, and it's mostly older people who carry on this cultural heritage."

This only adds to the emotional impact of her UAL project, which mourns both the loss of animal species and the anticipated loss of a beloved folk art.

Shihui put real thought and effort into learning and refining the technique, meaning that the resulting figures are beautifully made too. Consequently, these sweet sculptures have a sting in their tales, making us think more deeply about the impact of human activities on nature.

Engaging the audience

Interaction Design, by definition, is about experiential presentation, so Shihui ran trials to refine how best to engage an audience. She experimented with letting viewers consume her caramel creations and then showing them an explanatory video afterwards. "When I showed them the video after they ate them, it made them really sad," said Shihui.

Shihui modelled her figures on six species that have been hunted to extinction to satisfy human appetites: the Caribbean Monk Seal, the Plains Zebra, the Great Auk, the Passenger Pigeon, Steller's Sea Cow, and the Rhinoceros Sinensis.

"Human activity is seriously affecting the animal habitat, causing hundreds of wild animals to be endangered," she explains. "This is a piece of work that provokes thought, discussion or action about animals that have been eaten to extinction by humans."

Interaction Design, by definition, is about experiential presentation, so Shihui ran trials to refine how best to engage an audience. She experimented with letting viewers consume her caramel creations and then showing them an explanatory video afterwards.

"When I showed them the video after they ate them, it made them really sad," said Shihui.

In this visceral way, she encouraged her fellow students to think about how they can consume sustainably in their own lives.

The power of creativity

Shihui's project is the perfect illustration of UAL's belief in the power of creativity for social and environmental change.

The world-renowned art and design institution integrates themes of sustainability and ethics within its innovative curriculum. It also strives to expand access and affordability for students from disadvantaged backgrounds, through initiatives such as its outreach programme, Insights, and the UAL travel bursary for open days.

"By incorporating climate, social and racial justice principles in our curriculum, reducing and working to reduce our impact on the environment and making creative education available to students from more diverse backgrounds, we're leading this change," said a spokesperson.

Indeed, several graduates of UAL are today putting these principles into practice, including Vassi Deij and Frieda Bischoff, whom we profiled last year.

With groundbreaking student work like Shihui's project, UAL and its vibrant community of trailblazing artists are generating fresh momentum to build a regenerative future. Here's hoping her sugar-spun stories can help spark sweet visions of positive change.

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People People demonstrate how to brand a drink that no-one can describe Mon, 18 Mar 2024 07:45:00 +0000 Tom May https://www.creativeboom.com/news/people-people-demonstrate-how-to-brand-a-drink-no-one-can-describe/ https://www.creativeboom.com/news/people-people-demonstrate-how-to-brand-a-drink-no-one-can-describe/ Thorntail Hard Argave is somewhere between a seltzer and tequila. Read on to learn how the Seattle branding studio made it all make sense. Ever had a drink that you found difficult to describe to...

Thorntail Hard Argave is somewhere between a seltzer and tequila. Read on to learn how the Seattle branding studio made it all make sense.

Ever had a drink that you found difficult to describe to someone? Frustrating, isn't it? Well, that's exactly the challenge that Seattle branding studio People People were faced with recently when they were approached by the company behind Thorntail Hard Agave.

The makers of this new agave-based beverage, now available at QFC and Fred Meyer in Washington and Oregon, wanted to develop a unique, eye-catching brand that resonates with consumers. But there was one big hurdle.

Thorntail Hard Argave defies categorisation: it's not quite a seltzer, not quite tequila, but something new entirely. This posed both a challenge and an opportunity for the studio to do something different.

Research and Strategy

In developing a solution, People People carried out a market audit, and their designers identified two prevailing trends.

Firstly, logos of hard seltzers were often set against white or highly saturated colours. And secondly, products that feature agave as an ingredient typically showcase an icon of the plant. To break apart from the norm and communicate the product's uniqueness, People People opted for a different approach.

Packaging design

An overarching goal for the packaging was to feel fresh, vibrant and invigorating: attributes that align with the product. With only 2g of sugar and an alcohol by volume of 5%, the product's lightness is reflected not only in its taste but also in its visual representation.

The brand, cans and six-pack boxes all showcase a distinctive tone-on-tone pairing of light and dark teal blues. Inspired by the Blue Weber agave plant, from which Thorntail's fermented agave is derived, the colours evoke a sense of brightness that mirrors the beverage's refreshing taste.

Also, as a strategic move to bolster brand recognition, designers maintained colour consistency across all packaging, side-stepping the typical industry practice of changing backgrounds on a per-flavour basis.

Illustrated approach

In a departure from the usual agave plant graphics, People People drew inspiration from Thorntail's namesake: the thorntail hummingbird. Known for pollinating agave plants, these hummingbirds embody the same light and zippy characteristics as the beverage.

The visual identity features an abstract illustration of the hummingbird, symbolising upward flight for an uplifting feel, accompanied by a script typeface inspired by the hummingbird's graceful movements.

'Hard Agave' or 'Fermented Hard Agave' is prominently displayed alongside the logo and product name to pique consumer curiosity. Meanwhile, recognising the limitations of can space for detailed information, People People created Thorntail's website as a hub for in-depth education. The website features a playful infographic that takes consumers on a journey, detailing the production of hard agave from farm to can.

In summary, the completed design is as light, energetic, and uplifting as the beverage itself, featuring an abstract illustration of a thorntail hummingbird, complemented by a script typeface and tones of teal influenced by the Blue Weber agave plant.

The result of this original creative approach ensures that Thorntail Hard Agave not only stands out on the shelves but also strikes a chord with consumers seeking a unique and refreshing experience.

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SomeOne's new identity for Inntravel urges travellers to swap wheels for walking boots Mon, 18 Mar 2024 07:15:00 +0000 Abbey Bamford https://www.creativeboom.com/news/someones-new-identity-for-inntravel-urges-travellers-to-swap-wheels-for-walking-boots/ https://www.creativeboom.com/news/someones-new-identity-for-inntravel-urges-travellers-to-swap-wheels-for-walking-boots/ Self-guided tour operator Inntravel's new identity by SomeOne features a suite of fingerpost sign-inspired graphics and hand-drawn illustrations, helping to convince new hikers that it can show the...

Self-guided tour operator Inntravel's new identity by SomeOne features a suite of fingerpost sign-inspired graphics and hand-drawn illustrations, helping to convince new hikers that it can show them the way.

When visiting a place for the first time – whether it's an idyllic coast in Britain or a hilly landscape in Italy – do you really get the best view from a taxi or bus window? Arguably not, which is why self-guided tour operator Inntravel has spent the last 40 years curating hotel-to-hotel walking tours across Europe.

Last year, the brand commissioned design studio SomeOne to reposition it following a successful credentials pitch, for which the studio showcased its experience in rebranding firms in the travel sector, such as Saga & Crystal Ski. "Our specialism in creating challenger branding for challenger brands immediately resonated with the InnTravel team", says SomeOne founder and executive strategic creative director Simon Manchipp.

In a post-pandemic world, "people are increasingly looking for more original ways to spend time away from home" he adds, and so the design team was tasked with rejuvenating the brand for a new, modern audience while staying true to its history.

Most might not think of travelling between destinations as an enjoyable or memorable part of the holiday, so Inntravel needed to be able to communicate the joy and ease in strolling from one hand-picked boutique hotel to the next, with envious lunch spots and gorgeous scenery along the way.

Based on behavioural studies, extensive interviews with staff and customers as well as sector-wide analysis, SomeOne discovered that while over 80% of seasoned foot travellers were willing to embark on another walking holiday, new hikers were hesitant due to a singular factor: a lack of confidence.

"Walking proves enjoyable when one is familiar with the route", Manchipp explains. "However, in unfamiliar terrain, in warmer weather conditions, the appeal diminishes, which is why many opt to rent a car for the convenience of easily correcting a wrong turn by simply turning around."

In response, the studio devised a brand strategy based on both the obstacles encountered by individuals and the enduring proposition offered by the company, including the fact that Inntravel offers a map for guidance and has experienced personnel on hand who have walked every step of the journeys.

The brand phrase "When you walk it, we make it worth it" aims to both inspire trust in the brand and reassure new travellers while "initiating a dialogue about Inntravel's ability to circumvent the challenges of exploration while maximising the enjoyment of every step", according to Manchipp.

Once a tone of voice, powered by clarity, was established, SomeOne went on to create a suite of graphic assets, with signpost leading the way. Inspired by fingerpost signs, the device takes on the literal job of guiding people through the brand, highlighting keywords and information and amplifying graphics. The studio also designed a subtle nod to the signpost into the logo within the crossbar of the 't' in a bid to create an additional layer of personality and ownability.

Illustration plays a core part in Inntravel's updated identity, differentiating it in a sector that is "awash with brands that conform to category norms", says Manchipp. He describes its new visual language as "more idiosyncratic and reflective of the care and attention that goes into every trip" as hand-crafted, personal and unique connotations are communicated through illustrations to match the brand experience.

SomeOne lead designer Flo Campbell adds: "What's special about Inntravel is how tailored and personalised their holidays are, so it made complete sense to convey this in their brand". "The personal touches of the script font, illustrations and signposts provide so much character and individuality. Travelling is such a joyful thing to do – it had to be a joyful identity."

The illustrations appear in the margins of travel guides, drawn by what the studio calls the Inntravel Curator, revealing hints, tips and insights and adding a particular charm to the brand.

Inntravel marketing director Sara Fussey praises SomeOne's structured approach and how the team utilised "customer research, team interviews and a deep review of Inntravel's position in the market to come up with a renewed purpose that has significantly raised the bar and created a real buzz".

Designing a brand world that could flex to reach a broad audience of walkers was key to the brief, so Inntravel's identity is now cohesive across all its channels, from print to digital to physical.

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Jen Yoon's AR illustrations adapt The Yellow Wallpaper for a modern audience Mon, 18 Mar 2024 07:00:00 +0000 Dom Carter https://www.creativeboom.com/inspiration/jen-yoon/ https://www.creativeboom.com/inspiration/jen-yoon/ New York-based artist Jen Yoon has adapted Charlotte Perkins Gilman's classic short story The Yellow Wallpaper for a modern audience in her series of AR illustrations brought to life with Adobe Aer...

New York-based artist Jen Yoon has adapted Charlotte Perkins Gilman's classic short story The Yellow Wallpaper for a modern audience in her series of AR illustrations brought to life with Adobe Aero.

First written in 1892, Charlotte Perkins Gilman's short story The Yellow Wallpaper is a tale of psychological horror that charts a woman's descent into madness due to patriarchal oppression. It still resonates with readers today, including Korean illustrator Jen Yoon, who has created a new series of accompanying AR images.

Made for an MFA exhibition curated by Viktor Koen, a School of Visual Arts faculty member, these illustrations touch on themes of mental illness and gender inequality. "The main focus while working on this series was asking myself how to reinterpret this story for a modern audience," Jen tells Creative Boom.

"We live in a society with more options and choices than the protagonist's era. That's why I changed the story's ending, which I struggled to finalise, and changed sketches several times. Ultimately, I believe it gives the audience hope and positivity, which I wanted to achieve the most. Every cloud has a silver lining."

Viktor decided to adapt The Yellow Wallpaper because it offered a unique opportunity to tackle difficult topics. "Although The Yellow Wallpaper was published in 1892, it still resonated and reflected some parts of our lives," Jen adds.

"That was the first thing that caught my attention. Then, I was interested in the duality of the situation. Superficially, it seemed like a picture-perfect, flawless household, which was the total opposite of the protagonist's life. Those multiple layers of the story were perfect for me to experiment with the new AR technique."

Speaking of AR, each illustration is paired with a unique QR code. When scanned, the image can be placed anywhere, and viewers can watch as it moves and unfolds. "They have multiple layers of objects, constantly flying, hiding, or changing colours," Jen adds. The most interesting part of AR is that the background where you choose to play could change the feelings or narration of the story."

The idea of using AR for the exhibition originally came about due to the restrictions imposed by the pandemic. "It was almost impossible to invite other people to the gallery due to the limited access," Jen reveals. "So, I wanted to provide a special experience to the people who couldn't make it to the show in person. I shared the QR codes on my Instagram during the opening week."

It's not just AR that helps to tell the story, though. Jen also used colour to reflect the rising tension as the main character buckles under the expectations of gender conformity. Early illustrations in the series use a minimal palette, but as the plot progresses, they become more distinctive. "By the climax, red becomes the key colour, and I use vigorous, vibrant and saturated palettes."

This approach provides a sense of immediacy, which works hand-in-hand with Jen's more subtle line drawings. "I prefer using colours to deliver the first impression to the audience," she says. "That's why I stick to one or two important key colours for each illustration."

Working in AR posed its own set of challenges for Jen, though. Adapting to Adobe Aero in such a short time proved to be a big hurdle, but thanks to the help of SVA MFA professor Matthew Richmond and YouTube tutorials, she could dive into it.

"At first, it took forever to render the first AR," she concludes. "I had to redo it for a few days until I found the perfect effect and timing for the illustration. Eventually, time corrects everything. The last one took only a day to create an AR version.

"I'm really thankful I had a chance to learn AR in that class. It is such a nice way to engage an audience. I have an upcoming thesis show in May 2024, and I'm definitely going to add AR experience to that show, too, which will incorporate ceramic objects."

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Sara Green on running a 25-year-old agency and the art of letting go Mon, 18 Mar 2024 05:30:00 +0000 Tom May https://www.creativeboom.com/features/sara-green-on-running-a-25-year-old-design-agency-client-diversity-the-art-of-letting-go/ https://www.creativeboom.com/features/sara-green-on-running-a-25-year-old-design-agency-client-diversity-the-art-of-letting-go/ We chatted with the founder of People People and learned about the secrets of management, how to achieve work-life balance, and how to maintain an agency culture when working from home. You may ha...

We chatted with the founder of People People and learned about the secrets of management, how to achieve work-life balance, and how to maintain an agency culture when working from home.

You may have seen People People cropping up a lot on Creative Boom recently. From their rebrand of Washington State Parks to their branding for mixed-use development Kirkland Urban, we've been super-impressed with their work, and it turns out they've been around for quite a while.

Founder and principal Sara Green started her branding and interactive agency in 1998 in Leavenworth, Washington, USA. After landing a local ski resort campaign, she made her first hire: a senior designer who remained on the team for the next 20 years. In 2000, Sara moved the studio to Seattle, branching out of the real estate development realm into the food and beverage and non-profit sectors.

Today, she manages a team of 12 senior-level creatives (many of whom have been with her for over ten years) and works with notable clients, including Washington State Parks, Pike Place Market, and Seattle Pride.

How does she do it? Sara responds that she uses Slack religiously, offers a profit-sharing program for employees, and recognises work is not the most important thing in life. Instead, balance and flexibility are key.

Client Diversity

Sara largely credits People People's success to date to client diversity. "We watched a lot of agencies flounder and sink during the 2008 recession, as well as during Covid," she explains.

"Working with clients in different industries has helped keep us financially sound when times are tough. This model also helps keep our team happy; having an opportunity to dive into different industries keeps work interesting."

With 25 years of experience, Sara is also well-versed in the ups and downs of running a small business.

"My biggest challenge was learning to let go and delegate," she recalls. For a long time, I felt the need to be at every meeting and involved in every project. As the company grew, though, that just wasn't sustainable, especially once I started a family.

"Learning to lean on my team members and entrusting them with more responsibility, shifting titles, and giving them the opportunity to step up was difficult," she adds. "But honestly, it was the best decision I ever made."

Secrets of management

So, what's the secret to managing people? A lot of it, she adds, is about hiring the right people. "If you've compiled an amazing team, you don't need to do much managing," she explains. Of course, there are logistics, but with a crew of respectful, senior-level creatives, it's pretty easy. The most challenging aspect is ensuring that each person feels heard and understood.

"Everyone's goals and needs are unique," she continues, "from career growth to communication style, so it requires thoughtfulness and flexibility to ensure those individual needs are being met while also meeting the needs of the company.

"I strive to create an open-door community within People People, meaning I'm here if anyone wants to discuss anything, and so far, that has worked well. Everyone on the team knows I have their best interests in mind."

Quest for work-life balance

Importantly, she also looks out for her best interests, saying she's been on a personal quest to create a healthy work-life balance since the early days of the business.

"Then, as People People grew, I made an effort to ensure that everyone on the team felt that same balance," she says. "Life is way too short to work in an unhealthy environment or to work too much. Even if you love what you do for a living, you'll be better at it if you take the time to play. I like to think I lead by example by taking time to travel, be outdoors, and prioritise spending quality time with family."

Of course, attitudes have changed across the board in this area. "Over the last six to eight years, I've seen a trend in the corporate world, or at least the creative world, that encourages balance," Sara says. From bringing your dog to work to work-from-home Fridays and corporate gym memberships, there has been a healthy shift.

"I think that was perhaps a silver lining that came from our collective Covid times, having more time at home and with family, and less time commuting, and finding parking. Many people have found that it's not necessary to be in the office nine-to-five every day to be successful!"

In short, Sara firmly believes there is value in achieving a healthy work/life balance, especially for creatives. "Burnout is real!" she exclaims. "It takes a lot of foresight, planning and open communication to make it a reality, but the return on that investment is invaluable."

Positioned as equals

In short, to bring out the best in people, Sara leads with respect. "That is the ultimate bounty," she stresses. "Everyone wants to be respected, myself included. I don't like to be considered 'the boss'. I want to be a team member and a colleague.

"Of course, there are benefits to having that leadership role," she adds. "But I don't want to wave that flag. I never introduce anyone on my team as an employee; we are team members who support one another. Even when talking to my kids, and I reference someone on my team, I never say, 'So and so, who works for me,' I say, 'So and so, whom I work with.' It's a perspective that is important to me.

"One thing we all know well in the creative realm is that positioning is key," she explains, "and I never try to position myself above anyone else on my team. I position us as equals. I'm aware that we would not be where we are today if it weren't for ALL of us putting in the time, creativity, and effort."

And so far, it's all paid off. "I'm really proud of the team that I've built," she says. "It's been so rewarding to see them flourish creatively. They are such good people and so incredibly talented!

"It's also extremely satisfying and fun to see our work out in the world, on shelves at the market, on buildings, and on signs," she adds. "I absolutely LOVE helping people see their dreams come to fruition. Working with small businesses that are just getting started is especially rewarding."

Working from home

That doesn't mean running an agency is without its challenges, of course. "Our most recent overarching challenge was, of course, going 90% remote," she recalls. "And I think we've nailed that. Years ago, we decided to all work from home on Fridays, so when the pandemic hit, we were all accustomed to working from home. We had laptops, methods for accessing our server/files, and home offices."

The biggest struggle, in fact, was figuring out how to maintain a healthy work culture from afar. "As I'm sure many are aware, going from collaborating in person 90% of the time to working from home, you have to figure out ways to not be working in a silo, ways to continue to collaborate on projects, and not only foster but build team culture.

So, what solutions did they settle on? "We use many different methods for continued collaboration," she responds. "Slack has been hugely instrumental. And we make a concerted effort to connect as a team, with weekly team meetings, monthly Zoom lunches, quarterly in-person happy hours, and yearly team retreats. In my mind, nurturing our team culture is just as important as building our creative portfolio."

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Qianhui Yu's surreal and inspirational illustrations shine a spotlight on social problems Thu, 14 Mar 2024 07:45:00 +0000 Dom Carter https://www.creativeboom.com/inspiration/qianhui-yu/ https://www.creativeboom.com/inspiration/qianhui-yu/ Stoke-on-Trent-based illustrator and animator Qianhui Yu is on a mission to highlight social problems and tell stories from new perspectives. She's doing this by creating imaginative illustrations...

Stoke-on-Trent-based illustrator and animator Qianhui Yu is on a mission to highlight social problems and tell stories from new perspectives. She's doing this by creating imaginative illustrations imbued with a healthy dose of feminism.

Originally from Guilin, China, Qianhui Yu has travelled around the world and settled in the UK to pursue her career as an animation director and illustrator. A graduate of the China Academy of Art and the Royal College of Art, Qianhui's career has already got off to an impressive start, as she is currently working on her BFI Network-supported animation Statue in the Garden.

Outside of her animation work, Qianhui is also making waves as an illustrator. WIRED, Hyundai, Faber and the New York Times are among her long list of illustrious clients. And it's easy to see why Qianhui is taking off. Her colourful, surreal style is impossible to resist, not least because it leads with a sense of hope and inspiration.

It's somewhat surprising then to learn that Qianhui never intended to major in illustration at university. "I studied multimedia art for my bachelor's degree while I was studying at the China Academy of Art, then continued to study experimental animation at the Royal College of Art in London," she tells Creative Boom.

"I have always wanted to be an artist and have been drawing since I was a child, but I also know how difficult it can be, so I am very grateful that I can make a living by drawing."

Regarding influences, Qianhui cites a host of dazzling illustrators and animators, including Karlotta Freier, Marie Larrivé, Zhong Xian, Thibaud Herem, Lisk Feng, and GUINEA MATE. Together, they have combined to help define her style, which she describes as surreal, imaginative, feminist, peaceful and hopeful.

As for why she decided to move to Stoke-on-Trent, Qianhui revealed that her partner wanted to learn ceramics at the local Clay College. "We were living in London before Autumn 2022, but the cost of living there is now so high that we decided to move to Stoke together," she says.

"Since then, I have spent much more time in the house and my Garden, mainly focusing on my own art practice. I have been experimenting more and exploring different mediums, such as ceramics, brush painting, watercolour, linocut, and zine making.

"I also found that I have a huge interest in nature. I love plant drawings and trying out different handcrafts; they bring me joy and excitement."

Speaking of joy and excitement, Qianhui has many projects she's proud of so far in her career, with different ones capturing unique periods of her life and representing her varied aesthetics. Top of her list is the book cover she made for Ghost Drum last year, a new classic surrealist fantasy fiction edition.

"I spent a lot of time researching the Shaman culture while making this commission, and I feel really proud to see the outcome being sold in the local bookshops and owned by different people!"

Elsewhere, her portraits for International Women's Day, commissioned by Hyundai, saw her up against the clock. "The drawings are shown on their socials and Spotify playlist cover," she says. This was a challenging project for me. I only had two weeks to complete it from the day I was contacted by the client to the final delivery date, and I am glad I eventually achieved it."

Then there's this short animation, which she made for GIPHY, her most experimental project to date. "The story is based on the happenings in my own garden after I moved to Stoke-onTrent," she says. "All backgrounds are hand drawn in watercolour, which took longer than I expected."

It may be time-consuming, but Qianhui loves her vocation nonetheless. "As a freelance artist, I enjoy managing and running my own business; I have the freedom to arrange my own time and reach out to different clients or artists I've always wanted to collaborate with," she concludes.

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Cesar Mammadov's water paintings capture the poetry and beauty of everyday life Thu, 14 Mar 2024 07:30:00 +0000 Dom Carter https://www.creativeboom.com/inspiration/cesar-mammadov/ https://www.creativeboom.com/inspiration/cesar-mammadov/ Azerbaijan-based artist Cesar Mammadov uses his distinctive, photo-realistic approach to painting to capture the essence of ordinary moments and celebrate life's simple joys, often through the them...

Azerbaijan-based artist Cesar Mammadov uses his distinctive, photo-realistic approach to painting to capture the essence of ordinary moments and celebrate life's simple joys, often through the theme of water.

Hailed as one of the most prominent young brush masters to emerge from Azerbaijan, Cesar Mammadov has made a name for himself by creating paintings that capture the region's rich culture with a specificity that invites viewers from all over the world to enjoy and relate to them.

Born in 1988 in Baku, Cesar began his artistic journey at an early age. Fuelled by a passion for colours and shapes, Cesar followed in the footsteps of his father, the renowned Azerbaijani painter Sakit Mammadov. Sakit would be pivotal in shaping his artistic beliefs and encouraging him to express himself.

Eventually, Cesar studied at the Academy of Arts of Azerbaijan. This training honed his distinctive approach to capturing the essence of ordinary moments and led him to be showcased not only in Azerbaijan but on international platforms.

The most impressive part of Cesar's technique is his masterful control of lines, light and perspective. This allows him to faithfully recreate everything from Parisian rooftops to the rustic charm of Venice and the vibrant facades of Bilbao.

Uniting all of these images together, though, is the recurring motif of water. This symbolises the source of life in Cesar's paintings, and it provides a serene backdrop in his depictions of canals, ports, beaches, and rainfall.

"Optimism emanates from my paintings, conveyed through bold brushstrokes and saturated colours celebrating humanity's diversity and harmony," Cesar says in an artist's statement. "Encouraging viewers to find poetry in everyday moments, my art unveils the beauty of life's simple joys, inviting us to pause and appreciate the richness of the world."

This appreciation can be found in the unlikeliest of places, with fishermen on a concrete dock or a bustling riverbed providing a window into the miraculous every day. "My realism authentically portrays these fleeting moments, immortalising them on canvas to tell stories that might otherwise go unnoticed."

Cesar says his hyper-realistic approach to painting is akin to a camera lens. His work transforms canvases into portholes that look out onto tranquility, where rain and the cycles of nature come together spiritually to provide universal meaning.

"My saturated interpretations radiate confidence and optimism, inviting viewers to connect with scenes, no matter the location," he concludes. "Through highlighting the ordinary, my art serves as a transcendent intermission in our fast-paced world, reminding us that poetry is found everywhere."

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How&How Studio rebrand of Pachama helps shake up the carbon capture industry Thu, 14 Mar 2024 07:15:00 +0000 Tom May https://www.creativeboom.com/news/howhow-studio-rebrand-pachama/ https://www.creativeboom.com/news/howhow-studio-rebrand-pachama/ Pachama is a company at the forefront of removing carbon and restoring nature to our world. How&How Studio helped them develop eye-catching new branding, including some fabulous rainbow trees....

Pachama is a company at the forefront of removing carbon and restoring nature to our world. How&How Studio helped them develop eye-catching new branding, including some fabulous rainbow trees.

Carbon offsetting has had a bad rep in recent years. Many environmental groups view the practice with scepticism, arguing that it allows polluters to "greenwash" their image without addressing the root causes of their emissions.

It's not so much that the principle itself is bad. It's more that because of the lack of regulation and third-party verification, activists fear multinational companies see the practice more as good PR than a force for real-life environmental improvements.

Due to this impasse, discussions over corporate carbon solutions have started to stagnate. Pachama, however, offers a new way forward.

The brief

The Californian company uses the power of satellite images and LiDAR technology to generate accurate readings on real-time carbon removal. That way, companies, investors and consumers can rest assured that they're investing in high-quality, nature-based carbon projects.

In simple terms, Pachama works with ethical and effective carbon removal projects to accurately report where carbon credits are being used and what is being done to enhance sequestration efforts. By reopening the dialogue around offsetting, Pachama wants to shake up the industry and build a new relationship between business and nature.

To do this successfully, Pachama needed a new brand, marketing collateral, launch video and website. So they turned toHow&How Studio, a brand and design agency based in London and Los Angeles.

New graphic language

The studio took on FNDR's inspiring brand strategy and ran with the idea of 'seeing carbon in action'. Through a new graphic language to be used across Pachama's website and UX, their mission was twofold: to make the invisible process of carbon sequestration visible and to amplify and celebrate the beauty of the natural world.

This involved creating a visual language that heroes colours and textures. The palette is derived from LiDAR tech scans, where colour is used to indicate the height of a tree.

They spun these LiDAR colours into a rainbow palette, referencing the natural iridescence found in beetles, birds, shells and leaves. This showcases the symbiosis between natural wonders and Pachama's impressive technology.

Practical applications

How&How used this palette for different practical treatments such as a marquee device used to map reforested areas; pointillist tree graphics to visualise carbon sequestration; and textural landscape maps to represent Pachama's scanning technology.

They paired these devices with punchy typography, glass layers, and circular language reiterated throughout the brand to represent transparency, layered information, and zooming in and out of landscapes and details.

These elements work hard across digital, where our emphasis on clarity creates a UI that feels light and breathable, like clean air.

"Working with H&H on our brand refresh was an absolute delight," says Diego Saez-Gil, co-founder & CEO at Pachama. "They took the time to deeply understand our vision and philosophy and then brought it to life with magical beauty."

"H&H worked really hard on every aspect of our visual identity, ensuring that every detail would be exquisite," he adds. "Their refined taste, cultural insight and work ethic make them a very special partner to work with if you aspire to build a generational brand."

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adam&eveDDB campaign highlights how the V&A has something for everyone Thu, 14 Mar 2024 07:00:00 +0000 Tom May https://www.creativeboom.com/news/va-campaign-by-adameveddb-stresses-museum-has-something-for-everyone/ https://www.creativeboom.com/news/va-campaign-by-adameveddb-stresses-museum-has-something-for-everyone/ It's one of our nation's biggest cultural treasures, but most people think London's Victoria & Albert Museum "isn't for them". A new campaign led by adam&eveDDB is attempting to change all...

It's one of our nation's biggest cultural treasures, but most people think London's Victoria & Albert Museum "isn't for them". A new campaign led by adam&eveDDB is attempting to change all that.

Let's be honest. If you work as a creative professional, you probably like the idea of going to art galleries and museums on a regular basis. It's just that... well, life gets in the way. And so few of us visit these places as often as we'd like.

When it comes to the general population, the situation is even worse. Many people rarely or never go to museums, often because they don't think such places are "for them", which is a huge shame because, without being jingoistic about it, Britain really does have some of the finest museums in the world. And in London especially, it is packed to the rafters with cultural inspiration everywhere you go.

One of our favourites is the Victoria & Albert Museum, the world's largest museum of applied arts, decorative arts and design, housing a permanent collection of over 2.27 million objects. Everything's curated beautifully, and they're always doing fantastic temporary exhibitions. Quite honestly, it's worth the visit just to marvel at the architecture.

But not everyone's found that out for themselves. So adam&eveDDB recently launched an innovative campaign that hones in on exactly why the V&A is so great.

Passion project

Designed to resonate with niche passions, the campaign is based on the tagline "If you're into it, it's in the V&A". In other words, whatever you're interested in – from punk to pottery, stamps to streetwear – you'll find the V&A has exhibits that chime with that passion.

This concept stems the insight that whilst most people have heard of the V&A, fewer people feel familiar with what the museum offers; and that's particularly true of younger generations. The idea, then, is highlight the relevance of the collection and increase visits to the V&A online and in person.

Mark Shanley, creative director at adam&eveDDB, explains the thinking behind the campaign. "What are you into?" he asks. "Football? Fashion? Flappy Bird? Yes, they're all in the V&A. Jewellery. Yep. Star Wars? Loads of it. The world's oldest, most beautiful and historically important carpet. Yes, they have that too. And 2.8 million other things. Come to the V&A and see for yourself. You won't be disappointed."

The campaign includes hyper-targeted activations, including buried treasures for metal detectorists and bespoke creations for cultural festivals. It's being supported by a mass-media push and influencer collaborations.

Interactive element

To land the campaign message in a multi-faceted, highly targeted way, the V&A and adam&eveDDB are working with dozens of skilled creators to produce a wide range of unique objects.

Each object has been designed to appeal to specific interest groups, from the mainstream to the extremely niche. The objects all come together to form a variety of playful encounters with the V&A.

Selected objects will be placed in unknown locations across the UK to be discovered by relevant enthusiasts as they are pursuing their passions, and feature QR codes that link directly to relevant items in the V&A collection.

Among the niche object activations is a silverware stunt, in which a century-old silver tankard engraved with a unique message has been buried in a popular Oxfordshire metal-detecting location; limited edition embroidered pocket squares to be given away at a specialist tailor; and a handmade two metre-long battle flag, which was displayed by an armoured participant for a battle reenactment group.

There's also been an online stunt within the popular video game Grand Theft Auto Online, in which the campaign message was displayed on the clothing of TikTok influencer Shlottie's avatar as she broadcasted live on Twitch.

Other treats to come include:

  • a bespoke knit created by skilled artisan Onyinye Achusiogu, to be worn at The Stitch Festival (21st – 24th March)
  • a London theatre seat featuring a specially engraved plaque
  • a 120-year-old book that has been painstakingly rebound and will be left on the shelves of a vintage bookshop
  • a bespoke 3D animation to be played before a film in the cinema, paying homage to the classic style of production company pre-rolls and reminding movie-goers that "If you're into cinema, it's in the V&A".

These stunts are complemented by a robust social media presence, including bespoke Instagram films created in collaboration with niche influencers such as @Wainwrightbookbinding, @Me.Old.China, and @hookednbusy, plus TikTok films featuring punks and battle reenactment groups that all work to deliver engaging content across various digital platforms, ensuring broad accessibility and participation.

The joy of making

For Mark, it's all been a very special experience. "Getting to make creative things for a living is a gift," he enthuses. "To make them for the home of creativity is a unique privilege."

"As a family of museums dedicated to the power of creativity, our mission is to champion design and creativity in all its forms for everyone," adds Sophie Rouse, head of integrated marketing and insight at the V&A. "Our new campaign gives space for people to enjoy all the incredible things they are into, with us.

"We're not here to define what creativity is," she qualifies. "We're here to give people the space to define it themselves and find joy in doing so. From hyper-niche creative activations to high impact posters, the inclusiveness and versatility of the campaign enables us to tap into popular culture and trends in a highly targeted way. Proving that the V&A really does have something for everyone."

Media coverage

The campaign will target niche interests with programmatic display and press ads in specialist publications – reaching people in the places they go to feed their passions.

The hyper-targeted activity is supported by a mass-media push across OOH, press, digital and social media, showcasing 70 objects representing popular passions such as football, music and fashion.

Every object featured in these campaign executions links back to real objects in the V&A collection, showing that the museum has every possible interest covered.

To ensure the V&A continues to serve every niche passion, the campaign also features a nationwide recruitment drive, created with Hope&Glory PR, to identify nine new 'Superfan Advisors'.

Selected fans will be joining the ranks of the V&A's team to share their love and knowledge about their chosen subjects: Taylor Swift, Toby Jugs, Emojis, Tufting, Gorpcore, LEGO, Pokemon, Crocs and Drag.

Media for the campaign was planned and bought by PHD, spanning dynamic OOH, DCO digital display, press and social media.

Contextual ads featuring 70 objects from the museum's permanent collection are running across a number of media platforms, utilising the dynamic creative and optimisation capabilities of Omnicom Media Group's Adylic to contextually match ads to their relevant environments, such as football, music and fashion. Design agency Soup are responsible for paid social animation in museum screens and tunnel poster design and production.

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Rothko versus The Robots: How I learned how to stop worrying about AI killing our creativity Wed, 13 Mar 2024 07:45:00 +0000 Guest Author https://www.creativeboom.com/features/how-i-learned-how-to-stop-worrying-ai-killing-our-creativity/ https://www.creativeboom.com/features/how-i-learned-how-to-stop-worrying-ai-killing-our-creativity/ Are you worried about the impact of AI on an artist's ability to earn money? So was Jon Cockley, a co-founder of illustration agency Handsome Frank. But recently, he's started to feel more optimist...

Illustration by [Paul Blow](https://www.handsomefrank.com/illustrators/paul-blow), represented by [Handsome Frank](https://www.handsomefrank.com/)

Illustration by Paul Blow, represented by Handsome Frank

Are you worried about the impact of AI on an artist's ability to earn money? So was Jon Cockley, a co-founder of illustration agency Handsome Frank. But recently, he's started to feel more optimistic. In this insightful piece, he explains why and shares his views on this controversial topic.

As an illustration agent, the question that I'm constantly asked right now is, am I worried about artificial intelligence? What does it mean for our industry? Is it an end-of-the-world scenario for artists? Obviously, as we're a business built on illustration, we have some concerns. But the more I learn about it and think about the role of an artist in art, the more optimistic I feel, and here's why.

A few weeks ago, I visited the Mark Rothko exhibition in Paris. As I stood in the rain with hundreds of others who had bought tickets and made the journey to the Louis Vuitton Foundation, I asked myself a question. Will people ever flock in numbers like this to look at art created by a computer? Will the AI artwork of tomorrow be revered and hung in galleries in half a century? In my opinion, they won't, and here's why.

Going to an exhibition like that is not just about looking at the canvases on the wall. It's about learning the artist's story and discovering their journey. It's about seeing the evolution of their style, in this case, as Rothko went from drawing people and urban landscapes to his famous abstract colour and irregular paintings – a process that took him 46 years, by the way. The exhibition chartered the story of a Lativan-born man (Markus Yakovlevich Rothkowitz) who became the toast of wealthy Manhattan art collectors. It revealed how his art related to the times he was living through and the place he was living in, and perhaps most vividly of all, it gave us a glimpse into his psyche during the different phases of his life. In short, the art was not the thing, well certainly not the whole thing.

When you look at a painting or an illustration, it's the same as listening to a song or watching a film. What you're really doing is sharing a moment with the person who created it. It's a very human transaction. We're taking a glimpse into the mind of another human being, seeing the world through their eyes, and catching sight of what's in their soul just for a moment. For me, that's the experience I've always wanted from art, and for me, that's what will always be missing with artificial artwork.

This technology is going to pervade every walk of life and change the world whether we embrace it or not. But there's one thing that perhaps AI can't (or won't replicate), and that's flaws. Flaws are what make people unique. Mistakes, experimentation, the comebacks, the rise and fall, the happy accident. None of this will be faithfully replicated by AI. To compare it to sporting terms, who wants to watch a robot that's better at football than Lionel Messi? Sure, it would have some novelty value, and I bet the footage would go viral. But would it pack 100,000 people into the Camp Nou every weekend for a decade? I doubt it. Because we love human beings, their flaws – all of them – and we love watching them triumph or fail. The arc of success, fatigue, and failure, in whichever order it might come.

So, how does this relate to illustrators? I think it's time for illustrators and, in fact, all creatives to make sure they're seen and heard. I think it's a klaxon calling on creators to step out from behind their artwork and show themselves and tell their story; I think this is going to become a necessary requirement. Because art without an artist is meaningless – if you make yourself seen and heard, then your art will be understood and valued.

My second conclusion is that the process will become more important than ever. After all, there's no mystique in simply clicking a button. One of the by-products of social media and the never-ending appetite for content has been the advent of our clients wanting to see behind-the-scenes footage. If that wasn't motivation to share your process, then AI should definitely be your cue to start showing your work. The good, the bad and the unused concepts. AI doesn't have sketchbooks. No one wants to look at data scrapes. Art is about human connection, and we want to see the mistakes, the trial and error and the abandoned ideas in order to understand the finished article.

So perhaps, after all, AI could be a blessing for artists. It seems inevitable that the market, certainly in the illustration sector, will become flooded with AI artwork. It will doubtless be cheaper, quicker, and infinitely available at the touch of a button. As such, though, by its very definition, it will be of no or very little value. Artwork made by humans, however, will take time, cost more, and, therefore, be more valued and revered than ever. The value of true artists who communicate and tell stories through their work will surely rise in value, just like an original Rothko.

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Spring forward: creative strategies to help your design studio blossom Wed, 13 Mar 2024 07:30:00 +0000 Tom May https://www.creativeboom.com/tips/spring-forward-creative-strategies-to-blossom-your-graphic-design-studio/ https://www.creativeboom.com/tips/spring-forward-creative-strategies-to-blossom-your-graphic-design-studio/ Now's the perfect time for fresh ideas to revitalise your creative business. We explain how to harness the optimism of Spring for your studio in positive and constructive ways. It doesn't matter h...

Image licensed via Adobe Stock

Image licensed via Adobe Stock

Now's the perfect time for fresh ideas to revitalise your creative business. We explain how to harness the optimism of Spring for your studio in positive and constructive ways.

It doesn't matter how much clever technology we use to shield ourselves from the ravages of the natural world. Deep down, the changing of the seasons still has a real and measurable impact on our bodies and minds.

There are clear, scientific reasons why we often feel a bit low in the winter and, conversely, why we feel a sense of renewed optimism in the Spring. That makes this season of renewal and growth the perfect time to revitalise your graphic design studio.

Just as nature awakens from its winter slumber, now is the opportunity to embrace fresh perspectives, nurture your creativity, and cultivate a flourishing business. In this article, we'll explore innovative strategies to help your design studio blossom, ensuring you stay ahead of the curve and captivate clients with your exceptional work.

1. Take creative risks

Winter is a time for hibernation, for curling yourself up into a ball and protecting yourself from the harshness of cold weather and widespread infections. Springtime, in contrast, is all about shedding the layers of winter and embracing new beginnings. So, it's a great time to encourage your team to step out of their comfort zones and experiment with novel design techniques, colour palettes, or mediums.

That's easy to say, difficult to do, of course. You can't just tell your team to "be more experimental" if they're used to having offbeat ideas shut down. So, it's up to you to foster an environment where creative risks are celebrated, not squashed.

If you succeed in doing so, the rewards are potentially great. Because often, the craziest ideas lead to groundbreaking work and visually stunning designs. So, organise brainstorming sessions, mood board challenges, or internal design competitions to stimulate creative thinking and inject a sense of playfulness into your studio's workflow.

2. Refresh your portfolio and online presence

Just as nature is refreshing itself with vibrant blooms, Spring is an opportune moment to revitalise your design studio's portfolio and online presence. So, carve out some time to showcase your latest work, highlighting your team's growth and the evolving trends you've embraced.

Update your website, social media profiles, and online portfolios with your most recent and captivating projects. Engage with your audience by sharing behind-the-scenes glimpses, design tips, or industry insights. You might even consider asking team members to write articles to post on LinkedIn, positioning your studio as a thought leader in the creative community.

3. Seek inspiration from nature's beauty

So far, we've used nature as a metaphor, but Spring is also a good time to literally get outside and immerse yourself in it, particularly if you live in a city. Nature is a boundless source of inspiration, and the (hopefully) sunny weather of March through May is the perfect season to immerse yourself in its beauty.

So encourage your team to venture outdoors, whether it's a nearby park, botanical garden, or simply a stroll through your neighbourhood. That could be in an ad-hoc way, or you could even make it a more formal part of the working day.

After all, observing the intricate patterns, vibrant colours, and organic shapes that nature offers can directly and positively impact the quality of your studio's creative output. So try to capture these elements through photography, sketches or mood boards, and incorporate them into your design work, adding a refreshing and organic touch to your creations.

4. Collaborate and cross-pollinate ideas

With all the positivity and optimism that Spring brings, it can be a good time for growth and collaboration. So, make an effort to seek partnerships with photographers, illustrators, writers, or businesses in complementary industries. Collaborate on projects that allow you to exchange perspectives, techniques, and creative approaches. This cross-pollination can lead to innovative solutions, expand your studio's capabilities, and open doors to new client opportunities.

5. Nurture professional development

Just as plants require nourishment to thrive, your team's professional growth is essential for your studio's success. So, Spring is a good time to invest in professional development opportunities, such as workshops, webinars, or industry events.

Also, encourage your designers to explore new tools, software or design disciplines that can elevate their skills and keep them updated with the latest trends. Depending on the size of your studio, you might also consider hosting internal training sessions where team members can share their expertise, fostering a culture of continuous learning and growth within your teams.

6. Bring nature into the workplace

A vibrant and energising work environment is vital to steadily improve your team's creativity and productivity. And here's another way where taking literal inspiration from nature can make all the difference. Refresh your studio's physical space by incorporating natural elements, artwork featuring nature scenes, and biophilic design principles. At the same time, prioritise team-building activities that promote collaboration, camaraderie and positive work culture, fostering an environment where ideas can flourish and your team feels inspired to create their best work.

7. Evaluate and optimise studio processes

Spring cleaning isn't just for your home; it's also an opportunity to evaluate and optimise your studio's processes. That means streamlining your workflows, eliminating redundancies, and identifying areas where productivity can be improved.

Furthermore, consider implementing project management tools, automating repetitive tasks, or adopting agile methodologies to enhance efficiency and collaboration within your team. By optimising your processes in this way, you'll free up time and mental bandwidth for your designers to focus on what they do best – creating exceptional designs.

8. Embrace eco-friendly practices

Spring is the perfect time to reevaluate your studio's practices and explore ways to reduce your environmental footprint. For example, you might consider using recycled or sustainable materials in your designs, implementing energy-efficient practices, or partnering with eco-conscious clients and suppliers. By embracing sustainability, you'll contribute to a greener future, appeal to environmentally-conscious clients, and position your studio as a responsible and forward-thinking business.

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Robot Food primes tattoo skincare brand Stories & Ink for traditional retail markets with new 'inklusive' packaging Wed, 13 Mar 2024 07:15:00 +0000 Abbey Bamford https://www.creativeboom.com/news/robot-food-primes-tattoo-dedicated-skincare-brand-stories-ink-for-traditional-retail-markets-with-new-inklusive-packaging/ https://www.creativeboom.com/news/robot-food-primes-tattoo-dedicated-skincare-brand-stories-ink-for-traditional-retail-markets-with-new-inklusive-packaging/ Robot Food founder Simon Forster co-founded the brand alongside Stu Jolley to fill a gap in the skincare market, catering to the growing audience of people with tattooed skin. Tattoos have become...

Robot Food founder Simon Forster co-founded the brand alongside Stu Jolley to fill a gap in the skincare market, catering to the growing audience of people with tattooed skin.

Tattoos have become commonplace in society and are no longer looked down on in the same way they used to be. According to a 2022 YouGov poll, just over a quarter (26%) of Brits have tattoos; of that quarter, one in nine are inked on their face, neck forearms, wrists or hands.

Generally, these parts of the body are more exposed to external factors that affect the skin, like sunlight and air pollution, and are more prone to ageing, all of which can also contribute to the fading of tattoos. Despite this, the skincare category has seemingly dropped the ball and excluded the growing demographic of tattooed people, which is where Stories & Ink comes in.

Stories & Ink is a skincare brand dedicated to those with tattooed skin, developed by The Others Beauty Co. founder Stu Jolley and Robot Food founder Simon Forster. As the brand gains traction in the retail market, landing key retail listings in Target across the US with a big-name retailer soon to be announced, Robot Food stepped in to upgrade its packaging design.

These latest developments mean that Stories & Ink has to cater to a retail and wholesale market as well as direct-to-consumer – where it has already seen success – evolving to take advantage of the unique challenges faced in retail.

"We'd worked really hard to build an amazing community online amongst an underrepresented audience", says Jolley. "Selling digitally allows the brand experience to be much more immersive, but the retail reality is very different."

The core difference between a digital and physical retail landscape is the point at which the consumer interacts with the packaging. It forms the final part of the experience in digital when the consumer has already decided to invest in the brand whereas, in a traditional retail environment, the packaging is the first point of contact.

There often isn't room to communicate complex product information in the same way as a website can, and so the packaging is often the only method of communicating to the target consumer, according to Robot Food.

The studio's senior designer, Craig Lindsay, explains how the project involved "keeping the aesthetic that people know and love while strengthening assets and making the benefits clear, so the packs stand out and are instantly gettable on shelf".

In a bid to efficiently communicate what Stories & Ink is and why it deserves a space in the consumer's cart, Robot Food reviewed the messaging layout and hierarchy to devise an easy-range navigation. Unique selling points are now prioritised and showcased clearly and prominently on the front and side faces of the packaging, while bold hues of colour were introduced to further aid navigation and help the brand stand out amongst a predominantly monochrome beauty fixture.

Imagery of each product features on the side face, allowing consumers to visually connect with the product inside, with key ingredients pulled out as annotated callouts to support the efficacy of the product.

Robot Food also has to consider Stories & Inks's existing audience in the direct-to-consumer space, so the well-loved brand identity was retained alongside its unique "flashcard" illustrations created by illustrator Tom Gilmore, which were repositioned on pack to enhance impact.

A sans serif called Engineer Black by GRIN3, and monospace font Roboto Mono by Christian Robertson were introduced to "add more personality and authority into the design and reflect the brand's progressive nature and efficacious formulations", according to the studio. These tech-influenced fonts work in tandem with Gilmore's handcrafted illustrations, which are synonymous with traditional tattoo culture.

Stories & Ink's ethos of "Inklusivity for all" has also been foregrounded on the packaging to communicate how its story reflects the progressive and inclusive tattoo community it is eager to support.

Ultimately, Robot Food sought to solidify the brand's longevity and continued success by shifting it to an omnichannel strategy as opposed to digital only.

Simon Forster, co-founder of Stories & Ink and founder of Robot Food, added: "The difference between packaging design for online selling and retail is nuanced but significant, and even more so when considering designing for a global audience with altering retail experiences."

"We are incredibly excited for the next phase of the Stories & Ink journey and happy Robot Food can continue to provide essential strategic support to the brand as it grows and takes advantage of new opportunities to expand."

Stories & Ink products have already hit the shelves of Target at selected stores across the US and we can expect to see it on UK shelves very soon.

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10 of the best ergonomic office chairs to save you from the curse of back pain Wed, 13 Mar 2024 07:00:00 +0000 Tom May https://www.creativeboom.com/features/best-ergonomic-office-chairs-for-healthy-creative-backs/ https://www.creativeboom.com/features/best-ergonomic-office-chairs-for-healthy-creative-backs/ Working at a desk can result in years of agony. But it doesn't need to be this way. Protect yourself and invest in your future health and happiness with one of these comfortable and ergonomic chair...

RH Logic 300 by Flokk. Image courtesy of Flokk

RH Logic 300 by Flokk. Image courtesy of Flokk

Working at a desk can result in years of agony. But it doesn't need to be this way. Protect yourself and invest in your future health and happiness with one of these comfortable and ergonomic chairs.

As creatives, we often find ourselves completely immersed in our work, sitting still for hours on end to bring our visions to life. But typically, it's only years later that you realise how much this sedentary lifestyle has taken a toll on your body.

When you're young, back pain is something you associate with older people and think it won't happen to you. Because, quite frankly, we think we'll never get old ourselves. In reality, of course, we do. Even in your late 20s and 30s, you may discover that years of poor posture and prolonged sitting have resulted in chronic back pain, fatigue, and other long-term health issues.

That's why investing in an ergonomic chair designed to support your back and promote good posture is crucial. In fact, you could argue there is very little else in life that's as important to spend money on.

Just because a chair is expensive, however, doesn't mean it's good. To find the gems in the rough, we've canvassed the creative community to gather their personal experiences with different chairs and combined them with our own research and experience.

Below, we list ten ergonomic chairs known to alleviate back discomfort and foster healthy sitting habits. From industry-leading brands to budget-friendly options, there's something for every creative's needs and preferences.

A word of warning, though. Everyone's body is different, and some of the people we spoke to didn't personally get on with some of the chairs below. (See the full thread here for all the nitty-gritty details). So there's no absolute guarantee every model on this list will be right for you. Don't let that put you off, though, because there's usually some kind of trial period. Herman Miller UK, for example, gives you 14 days to return your chair if you buy it online and don't like it.

1. Herman Miller Mirra 2

Designers rave about the Herman Miller Mirra 2 for its responsive support, which allows movement while maintaining good posture. Its innovative design encourages micro-adjustments, preventing the stiffness and discomfort associated with prolonged sitting.

"I swear by the Herman Miller Mirra 2," says designer Greg Findley. "I previously tried more IKEA chairs than I care to mention, plus the Herman Miller Aeron, Steelcase Leap, and Humanscale Liberty. The Aeron always felt too heavy and stiff for me. I really wanted to like it! However, it was the Mirra 2 that offered the right level of support to maintain good posture without feeling locked in. It also feels light and responsive, which is great because I fidget often."

2. Herman Miller Aeron

While Greg didn't personally get on with the Herman Miller Aeron, it's a tried-and-true favourite among many others. Its breathable mesh back and adjustable features provide unparalleled comfort, even during marathon work sessions. Many attest that the Aeron feels like a dream to sit in, making it a worthwhile investment for long-term back health.

Nick Pattison, designer at Primary Studio, adores his "trusty ol' Herman Miller Aeron", adding that: "I've tried a lot including the Sayl, and the Aeron is the way to go." Graphic designer Sarah Fisher is also a fan. "I absolutely love my refurbished Aeron," she raves. "It feels like a dream to sit in and is the perfect height for my back."

New Herman Miller Aeron. Image courtesy of Herman Miller.

New Herman Miller Aeron. Image courtesy of Herman Miller.

3. Herman Miller Sayl

If you're seeking Herman Miller's renowned ergonomic design at a more accessible price point, the Sayl chair is an excellent choice. Its patented '3D Intelligent back' features elastomer strands which vary in thickness and tension to provide greater support in the transition areas along the spine and encourage a full range of seated movement.

This innovative spinal support system and its adjustable features provide excellent lower back support without breaking the bank. "Great lower back support and a softer price tag," says Luca, partner at design studio Illo TV.

4. Boulies Master

For those who truly value comfort during extended creative sessions, the Boulies Master is a game-changer. This sleekly minimalistic, oversized chair envelops you in plush cushioning, ensuring your back remains supported and pain-free, no matter how long you sit. That's made it popular among gamers and office workers alike. "It's a pretty big chair, but it's unbelievably comfy for a long period," says graphic designer Lauren Rasberry. "My boyfriend has one, and I really want one for myself!"

5. Variable by Varier

It might sound strange, but kneeling can be better than sitting if you work. This position encourages an upright posture by tilting the pelvis slightly forward, helping maintain the spine's natural curvature and reducing strain on the back muscles.

We like the Varier Variable kneeling chair, which follows your body's natural movements and allows you to switch between kneeling and more traditional postures. It's free from mechanical adjustment parts, making it intuitive to use, lightweight and easy to move around. Plus, the tilted seat relieves pressure on the lower back and reduces tension in the neck and shoulders.

"This chair is by far the best investment I've made," says designer and illustrator Pilar Torcal. "It's given me such better posture, and I believe I'm even more optimistic because of it."

Variable by Varier. Image courtesy of Varier

Variable by Varier. Image courtesy of Varier

6. Forma 5 Dot Pro

Sometimes, simplicity is key. The Forma 5 Dot Pro is a simple yet effective chair that allows you to easily adopt an ergonomic positioning. With a mesh or upholstered backrest, its adjustable features ensure a customised fit, making it a reliable choice for back support.

"It's a very basic chair, but it's been working great for me," says illustrator and artist Alberto Rodríguez, aka stereoplastika. "I had one Interstuhl in the past, and even if it might have been a better chair, it wasn't for me. The most important thing is that you can adopt a good posture while sitting, and this provides enough adjustments to let me do that."

7. Flokk HÅG Capisco 8106

If you work at a standing desk, I'd highly recommend this chair, which I use regularly. The HÅG Capisco 8106 is a classic saddle seat which can be adjusted between low and high working positions; in other words, everywhere between sitting (like you'd do on a bar stool) to leaning and standing. This allows for constant movement and position-shifting throughout the day, preventing the stiffness you get from sitting in the same position.

Flokk HÅG Capisco 8106. Image courtesy of Flokk

Flokk HÅG Capisco 8106. Image courtesy of Flokk

8. Hbada E3

The Hbada E3 is a versatile and adjustable option that caters to various body types and preferences. Engineered for enduring comfort, this ergonomic office chair boasts supportive features like elastic lumbar support, a 3D adjustable headrest and armrests, breathable mesh upholstery, a 140-degree recline range, adjustable seat depth, and a gravity-sensing chassis that adapts to your movements. All this ensures you remain relaxed even after hours of sedentary work; designer Sophie O'Connor is among its fans.

9. Flokk RH Logic 400

Another tried-and-tested ergonomic office chair, the Flokk RH Logic 400, offers a wide range of adjustments to cater to individual needs. It has a large back and comes as standard with castors for soft floors and a silver aluminium base.

This chair can be enhanced with various options and accessories and has excellent adjustment controls such as a frictionless tilt mechanism and separately adjustable backrest. Overall, its superior lumbar support and customisable features make it a popular choice among creatives seeking long-lasting comfort and support.

RH Logic 400 by Flokk. Image courtesy of Flokk

RH Logic 400 by Flokk. Image courtesy of Flokk

10. Flexispot BS12PRO

If you're on a budget but still crave the benefits of an ergonomic chair, the Flexispot BS12PRO is a decent option. While not a premium choice, it offers adjustability and comfort at an affordable price point, making it an accessible entry into the world of ergonomic seating.

The lumbar support can be adjusted to target the precise area of your back you need to target, and the armrests can be adjusted to support your long-time use of computer mice. It's not perfect: it feels a bit plastic-y, and we personally didn't get on with the headrest. But it's adjustable and comfortable and a good option for the price.

Posture tips

To further support your back and overall well-being, follow these additional tips and resources:

  • Invest in a standing desk to alternate between sitting and standing throughout the day. This simple change can alleviate the pressure on your back and improve circulation. The Flexispot E7 Standing Desk is a good choice; for more options, see our guide to the best standing desks for creatives.

  • Regularly swap your chair for an exercise ball to engage your core and promote active sitting. As designer KA Hughes recommends: "Whatever your chair, swap it out for a fitness ball for a short time each day. It's not something you'd want to do all day long, but it's great for relieving bad backs and posture and strengthening your core."

  • Place an anti-fatigue mat on the floor to cushion your feet and encourage subtle movements that can improve circulation and reduce pressure on your back.

  • Incorporate back-strengthening exercises and stretches into your routine. Books like Back Mechanic by Dr. Stuart McGill, Built to Move by Juliet Starrett, Sit Better by Turner Osler, and Back and Neck Health by Sarah Key can guide you through targeted exercises and healthy habits.

  • Take regular breaks from sitting, even if it's just a quick stretch or a short walk around the office. Sitting puts load on the spine, and prolonged inactivity can exacerbate back issues.

  • Warm up properly before any intense physical activity after long sitting sessions. Going from a sedentary state to high-impact exercise can strain your back and increase the risk of injury.

  • Adopt an anti-inflammatory diet rich in fresh, nutrient-dense foods to support overall back health and reduce inflammation that can contribute to pain and discomfort.

  • Practice good "spine hygiene" by being mindful of your posture throughout the day, whether sitting, standing, or engaging in daily activities. Good habits can go a long way in preventing future back problems.

By combining the right ergonomic chair with a holistic approach to back health, you can unlock a new level of creativity and productivity, free from the constraints of back pain and discomfort. Invest in your well-being, and watch your creative pursuits soar to new heights!

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Get recognised for your digital designs: Lovie Awards 2024 opens today Tue, 12 Mar 2024 12:15:00 +0000 Tom May https://www.creativeboom.com/news/get-recognised-for-your-digital-designs-lovie-awards-2014-opens-for-entries-today/ https://www.creativeboom.com/news/get-recognised-for-your-digital-designs-lovie-awards-2014-opens-for-entries-today/ Europe's largest awards honouring internet excellence are partnering with Creative Boom for the first time this year. Entries are just opening for 2024, including some brand-new categories! We al...

Europe's largest awards honouring internet excellence are partnering with Creative Boom for the first time this year. Entries are just opening for 2024, including some brand-new categories!

We all want to be recognised for our design work, which is exactly why awards exist. But you can't win if you don't enter, so we're always keen to share news of the best award schemes with you. And when it comes to digital design, it doesn't get more prestigious than this.

First launched in 2010, the Lovie Awards, presented by the International Academy of Digital Arts and Sciences, celebrate the leading work and creators across culture, technology and business on the European internet. (You may remember how we covered their fantastic new visual identity last Spring.)

Now, as the Lovie Awards enter their 14th year, they're partnering with Creative Boom to ensure the best digital work from brands, agencies, entertainment, platforms, museums, cultural institutions, causes, and governments gets the plaudits it deserves. Today, they opened submissions for this year's entries.

Find your niche

There is a wide range of awards to enter in 2024, so you're sure to find the right niche for your work to be recognised.

Creatives across 25 European countries are invited to submit work across the following categories: AI, XR & Web3, Apps, Platforms & Software, Film & Video, Podcasts, Marketing, Advertising & PR, Social, Websites & Mobile Sites and Beyond.

Meanwhile, the Awards have continued to move with the times, and so there are a host of new categories to enter this year, most notably a new award for Responsible AI.

There are also all-new honours for Architecture, Interiors & Home, Best Event Website, Best Partnership or Collaboration, Best Influencer or Creator Partnership, Best Interview or Talk Show, Sport, Best Indie Podcast, Retail & e-commerce, Fashion & Beauty, Best Immersive Experience and more.

Also, for the first time, the Lovies will present special achievement honours for Brand of the Year and Collaboration of the Year to join existing honours like European Agency of the Year and European Publisher of the Year. You'll find the full list of award categories here

Focus on collaboration

The 14th Annual Lovie Awards season is dedicated to the topic of collaborations. This will be explored through all-new editorial formats, community events and online dialogues.

Jacqueline Kavanagh, managing director of the Lovie Awards, explains the thinking behind the theme. "Last year, as we reviewed our biggest season of submissions yet, one resounding theme emerged: Europe’s Internet is in collaboration mode," she says.

"Europe’s digital industries are experiencing a surge of cross-sector collaborations," she continues. "And in a world increasingly defined by polarisation, these cooperative partnerships that reach across the void have never been more pertinent... when they’re done meaningfully.

"From pooling resources, creative soul mates, open source technology, idea sharing and uniting for a common purpose, this season we’re excited to dig into what makes a good collab tick."

Enter the Lovie Awards today!

The 2024 Lovie Awards is open for entries now, and the early entry deadline is 26 April. Finalists will be announced in September and the winners in November, followed by a series celebratory events.

All the information about how to enter can be found on the Lovie Awards website.

Entries will be judged in seven languages by a prestigious jury, including leaders from companies like FEELD, By Rotation, Early Majority, The Modern House, Danone and Polestar. All previous Winners and Special Achievement recipients of the Lovie Awards can be explored in an all-new Awards Winners Gallery.

Make sure you enter in good time, and we wish you all the best of luck!

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Decathlon relaunches as a global sports brand with focus on 'Wonder' Tue, 12 Mar 2024 12:00:00 +0000 Tom May https://www.creativeboom.com/news/decathlon-relaunches-as-a-global-sports-brand-with-focus-on-wonder/ https://www.creativeboom.com/news/decathlon-relaunches-as-a-global-sports-brand-with-focus-on-wonder/ Wolff Olins and AMV BBDO work their magic on the world's third-biggest sports company, conjuring up a new visual identity and campaign centred on the joy of play. Global brand consultancy Wolff Ol...

Wolff Olins and AMV BBDO work their magic on the world's third-biggest sports company, conjuring up a new visual identity and campaign centred on the joy of play.

Global brand consultancy Wolff Olins has created a new visual identity for Decathlon, introducing a new brand icon known as 'L'Orbit' that expresses the brand's new purpose ', to move people through the wonders of sport.'

The rebrand launches today alongside a new global creative campaign created via Wolff Olins' sister creative agency AMV BBDO centred around the concept of play.

Following a collaboration over two years, the rebrand spans strategy, design, internal culture, and brand experience and encompasses every Decathlon touchpoint: revitalising the visual identity, the product portfolio, and the omnichannel experience.

The brief

Since its creation in 1976, Decathlon has catered to pros and beginners alike across a wide range of sports. But despite the huge scale of the business, its brand voice wasn't carrying it well enough into the hearts of customers or future audiences. I mean, would you have guessed it was the world's third biggest sports company? Us neither.

In 2022, Wolff Olins was briefed as trusted brand transformation partner to support the new business strategy of shifting Decathlon from a French retailer to a future-fit global sports brand.

Brand concept

The question at the centre of the strategic approach was: what role does sport play in our lives today? Insights showed that people's love for sport is not tied to winning but to the enjoyment and wellness it brings.

This led to the development of a new purpose for the organisation: 'to move people through the wonders of sport', with the entire brand strategy anchored around the idea of wonder. The aim was to amplify all the emotions of sport, such as enjoyment, connection and adventure, and celebrate movement, participation and progress.

The new Decathlon brand platform is rooted in this new positioning, entitled 'make sport yours'; enabling everyone to embrace sport on their own terms and live happier, healthier lives. This approach breaks away from the category's traditional focus on perfection, and injects a sense of play and enjoyment back into sport.

Graphic elements

As part of the redesign, the Wolff Olins team streamlined a portfolio of 85 sub-brands into one unified Decathlon brand with a new and expressive visual identity. The aim was to position Decathlon "as a maker, not just a retailer". This included revitalising the iconic blue, celebrating the iconic heritage wordmark, and introducing the new brand icon, L'Orbit.

L'Orbit is an expression of the brand's purpose; conveying movement and circularity, with a strong angle inspired by the iconic wordmark and a peak representing its connection to outdoor sporting activities. It will now feature prominently on all products, from mass-market to pro.

The wider identity system is designed to work effortlessly across all channels. A new voice, art direction, motion, and iconography are brought together with a bespoke typeface: Decathlon Sans. Inspired by the iconic Avant Garde wordmark of the 1970s, Decathlon Sans is both expressive and technical in its details and design.

Elsewhere, a motion system brings the Orbit to life, working across animated type, imagery, layouts and cinematography with a signature orbital movement. The approach to art direction aims to redefine sport, with a focus on emotion and authenticity as well as showcasing a spectrum of narratives that embrace a diversity of ages, abilities and sports.

Brand campaign

To launch the new Decathlon brand to the world, Wolff Olins' sister creative agency AMV BBDO developed a campaign centred on the concept of play. At its heart lies a central principle: regardless of age, skill or sport, the joy of play lives in every one of us, and Decathlon invites everyone, everywhere, to rediscover the joy of play.

In a world where stress and perfectionism hold so many people back from enjoying sports, Decathlon simply asks, "Ready to Play?". This bold question serves as an invitation and rallying cry for people to experience the sheer delight of movement and spontaneity.

The integrated campaign launches with a hero 60-second film directed by Hector Dockrill through Magna Studios. The film mixes original footage and found footage and celebrates sport in a non-glamourised way that reflects how people actually play it around the world, from children to older people, from beginners to professionals.

OOH campaign

The out-of-home campaign, featuring stills shot by Tom Sloan, also captures the joy of real people at play across a range of sports. Versions of the film will also run in 30-, 15- and six-second formats across TV, digital and social media.

A full 360 campaign is airing today during Decathlon's official launch event in Paris and across global markets and will be broadcast across 70 markets throughout the month.

"Decathlon has always been for everybody," says Emma Barratt, global executive creative director at Wolff Olins. "A sportsmaker, misunderstood as a retailer. A democratising influence in sport, fast becoming a leader in circularity. But above all, its aim to simply bring fun, joy and wonder to people of all levels and abilities. We have honoured this with the new brand and identity, which is an open invitation for all to move in their own way.

"It has been inspiring to work so closely with the impressive Decathlon leadership, and we couldn't be more excited to see how they will continue to innovate and bring the wonder of sport to the masses."

Laura Rogers, executive creative director at AMV BBDO, adds: "Play is at the heart of the Decathlon brand, from their stores to their people and now, in their communications. We're delighted to share Decathlon's unique, democratic and people-centred approach to sport with the world.

"We hope that this work, which is our first in partnership with the brand, inspires people everywhere to find that joyous spirit within themselves and get out there and play."

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Photographer Keisha Scarville wins the inaugural 2024 Saltzman Prize Tue, 12 Mar 2024 09:00:00 +0000 Dom Carter https://www.creativeboom.com/news/photographer-keisha-scarville-wins-the-inaugural-2024-saltzman-prize/ https://www.creativeboom.com/news/photographer-keisha-scarville-wins-the-inaugural-2024-saltzman-prize/ The prestigious new Saltzman Prize, an annual award which recognises the Emerging Photographer of the Year, has gone to Keisha Scarville for her striking images that reflect themes of belonging and...

The prestigious new Saltzman Prize, an annual award which recognises the Emerging Photographer of the Year, has gone to Keisha Scarville for her striking images that reflect themes of belonging and place.

American photographer Keisha Scarville has today been awarded the coveted new Saltzman Prize, an arts award presented in cooperation with the Center for Photography at Woodstock (CPW) and PHOTOFAIRS New York.

Keisha's work was recognised for reflecting the symbolism of Caribbean and African diasporic figures and the immigrant experience of her Guyanese-American parents. Notable examples include her important series Mama's Clothes, in which she created portraits using her deceased mother's clothing.

The prize, which pays tribute to art patrons and designers Ralph and Muriel Saltzman, sees Keisha receive a $10,000 award and additional funds to support a solo exhibition of her work at the Javits Center on September 6–8, 2024.

"It is a wonderful honour to be awarded the inaugural Saltzman Prize," said Keisha. "Photography has been my obsession from the first time I stepped into a darkroom. It has brought me solace and entangled me at the same time. I feel the utmost gratitude to be the recipient of an award that advances and fosters the path for future image makers."

The Saltzman Award is the latest accolade for Keisha, who was recently shortlisted for the Aperture/Paris Photo First PhotoBook Award for her book lick of tongue, rub of finger, on soft wound. This title reflects on her artistic journey and her family history via materials such as stone, water, skin and fabric.

All of these materials and other textures tie back into how the land acts as "a platform for movement; a movement that one must take to begin a journey and re-emerge." Keisha's parents undertook such journeys while immigrating from Guyana, and she herself took many trips back and forth from the United States to Guyana.

Keisha is currently an adjunct faculty member at the International Center of Photography and Parsons School of Design in New York. Her work has previously been exhibited at the Studio Museum of Harlem, the Huxley-Parlour Gallery in London, and ICA Philadelphia. She has also participated in artist residencies at the Center for Photography at Woodstock, Vermont Studio Center, Lightwork, and the Lower Manhattan Cultural Council Workspace Program, plus many more.

"Our nominators and jurors for the Saltzman Prize were nothing short of impressive, and their selection of Keisha Scarville as the inaugural recipient of the Prize is a monumental acknowledgement of her sheer talent and artistic ambition," said Lisa Saltzman, Founder of the Saltzman Family Foundation and the Saltzman Prize.

"I am beyond proud to present Scarville with this prize, which I hope will accelerate her photography career and enable her to receive further recognition for her talents."

The judges for this year's Saltzman Prize settled on a winner after each selecting two emerging artists to present as nominees. These nominators included MoMA curator Oluremi Onabanjo, British curator and cultural historian Mark Sealy, New York-based curator and writer Lyle Rexer, legendary American photographer Deana Lawson, and New York Times Opinion photo director Jacqueline Bates.

Keisha herself was then selected by a jury of three photography luminaries, including MacArthur fellow and photographer Deborah Willis, the President of the Magnum Foundation Susan Meiselas, and the Director of Asia Society Yasufumi Nakamori.

"We are delighted that our distinguished jury has selected Keisha Scarville as the recipient of the 2024 Saltzman Prize," said Brian Wallis, CPW Executive Director. "Scarville was a participant in our Woodstock AIR residency in 2003, so her selection here, for the extraordinary work she has produced since then, is especially gratifying for all of us at CPW.

"We congratulate Keisha, and we thank CPW Trustee Lisa Saltzman for her generosity and foresight in acknowledging emerging photographers."

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Dong Qiu's magical illustrations summon the East-meets-West spirit of Shanghai Tue, 12 Mar 2024 07:45:00 +0000 Tom May https://www.creativeboom.com/inspiration/dong-qiu/ https://www.creativeboom.com/inspiration/dong-qiu/ The Chinese artist's distinctive style blends Asian tradition with modern sensibilities, attracting global clients and resonating with audiences worldwide. The moment you clasp eyes on freelance i...

© Dong Qiu

© Dong Qiu

The Chinese artist's distinctive style blends Asian tradition with modern sensibilities, attracting global clients and resonating with audiences worldwide.

The moment you clasp eyes on freelance illustrator Dong Qiu's work, you feel yourself being pulled in multiple directions. Her art is at once subtle yet distinctive, calm yet thrilling, steeped in tradition yet irrepressibly modern. So, we were keen to chat with her and discover how she's developed such a distinctive and enchanting style.

"I like to draw pictures with smooth lines, strong decoration, and deep meaning," begins the artist, who is based in Shanghai, China. I am also attracted by pictures that are quiet but full of emotional flow, and I really want to create such works."

Her style is also deeply influenced by her nation's culture and tradition. "My favourite subjects as a student were art and Chinese because I liked drawing and handicrafts very much, and I was also good at them," she explains. "The subject of Chinese is also closely related to art, and the two complement each other."

More specifically, she takes inspiration from her home city and its unique culture. "As a representative city of Chinese culture and modernisation, Shanghai integrates Eastern and Western cultures and has rich artistic resources and activities, with endless art festivals and exhibitions," she enthuses. "These provide a platform and opportunity for me to learn, communicate and display my illustration work."

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

Injecting magic

Yet, although her art is recognisably from one culture, it resonates with people all around the world, both Chinese and non-Chinese. "Because illustration is different from the limitations of written language, it can directly convey information, complex stories and emotions, and touch people's hearts," she explains.

"Emotion is a universal language not limited by language and culture. Sometimes, painting a satisfactory work is like injecting magic, which invisibly establishes communication and resonance with the audience."

Dong first developed a strong interest in art when she was very young. "I showed great talent and won many awards in kindergarten," she recalls. "This is why I like to draw with lines."

When she was in elementary school and junior high school, she became interested in pictorials, comics, picture books and other types of books. "I also created some four-frame comics or themed pictorials," she recalls. "I started to learn professional art knowledge in high school and began to create my own original illustrations to record my life. I would occasionally submit satisfactory works to magazines."

Imagination needs discipline

Today, she uses both digital and physical media to create art and sees her discipline as a combination of discipline and thinking outside the box. "The originality of the work is very important to me," she says. "I believe that sincere expression, continuous accumulation, and honing basic painting skills are essential. Many friends who draw have amazing imaginations but find it difficult to maintain the behavioural habit of spending time creating and recording them.

"I believe I did this very well as a student," she continues. "It's a good habit to cultivate and consolidate your painting style. It can also exercise the brain's way of thinking about pictures."

And she continues to pursue this approach today. "Given the increasingly fierce market competition and challenges we all face, I need to continuously improve my professional capabilities and maintain creativity," she explains.

Serving the client

She also recognises the need to balance artistic expression with the needs of her clients, who include big brands such as Walt Disney, Swatch, Lay's, Lenovo and Oreo, and editorial and publishing clients such as Penguin Press and Heilongjiang Fine Arts Publishing House.

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

© Dong Qiu

"The difference between commercial projects for clients and personal illustration works is that in the early stage of commercial project creation, you need to communicate with the client in detail about the content requirements, review information, and do a good job of preliminary accumulation," she explains.

"After fully understanding the needs, you integrate your creativity and painting methods to create and polish. There may be countless communications or adjustments, a process of constant outward exploration. Personal creation, meanwhile, is private and inward exploration will lead to more freedom and sensibility. People cannot always be inward or outward, so the overlap of the two can form a delicate balance."

To give her own artistic expression full reign, she's currently working on a personal series, which she's keeping confidential for the time being. "I often customise a new series for myself as a creative cycle, a bit like a spiritual practice, and then start a new round of work mode after the personal series is completed," she explains.

© Dong Qiu

© Dong Qiu

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Five Stories: Ellen Weinstein's new picture book is a love letter to the Lower East Side of New York City Tue, 12 Mar 2024 07:00:00 +0000 Dom Carter https://www.creativeboom.com/features/five-stories/ https://www.creativeboom.com/features/five-stories/ New York-based illustrator, artist and author Ellen Weinstein has delved into her family history for her latest picture book, Five Stories, which explores the people and character of NYC's Lower Ea...

New York-based illustrator, artist and author Ellen Weinstein has delved into her family history for her latest picture book, Five Stories, which explores the people and character of NYC's Lower East Side.

We're big fans of award-winning illustrator Ellen Weinstein here at Creative Boom, whose previous picture books include the dazzling Yayoi Kusama: From Here to Infinity and the quirky Recipes for Good Luck. In her latest title, Five Stories, she takes a more personal approach after deciding to research her family history.

Centred around a building in New York's Lower East Side, Five Stories tells the story of the five generations who have lived there over the years. Charting the interiors and street scenes as they change over a century, Five Stories is a fascinating snapshot of a community with ever-shifting tastes, sounds and histories.

The book came about when Ellen decided to learn more about the long journey her grandmother and great-grandparents took during the early 1900s. Having travelled from Russia by boat, Ellen wondered what it must have been like for them to leave behind everything they knew and start a new life in a strange place.

Interior from Five Stories. Text © 2024 by Ellen Weinstein illustrations © 2024 by Ellen Weinstein. Used with permission from Holiday House Publishing, Inc.

Interior from Five Stories. Text © 2024 by Ellen Weinstein illustrations © 2024 by Ellen Weinstein. Used with permission from Holiday House Publishing, Inc.

Interior from Five Stories. Text © 2024 by Ellen Weinstein illustrations © 2024 by Ellen Weinstein. Used with permission from Holiday House Publishing, Inc.

Interior from Five Stories. Text © 2024 by Ellen Weinstein illustrations © 2024 by Ellen Weinstein. Used with permission from Holiday House Publishing, Inc.

"The first family in the story is based on my grandmother, Jenny Epstein, her brothers, and my great-grandparents," Ellen tells Creative Boom. "The other families are composed of people I learned about. I interviewed my friends and neighbours about their stories of immigration and migration, as well as the stories of their grandparents and great-grandparents."

This research process was both engaging and sometimes surprising. "Much of my research consisted of talking to people," Ellen explains. Over the course of eighteen months, I interviewed historians, curators, and librarians at the Tenement Museum, Eldridge Street Synagogue, Henry Street Settlement, and Seward Park Library. I also talked to the principals and students at local Public Schools and a dual language school for English and Mandarin."

Crucially, all of these people were within walking distance of Ellen's home. In the process, she discovered new things about friends and neighbours she had known for years. "A friend shared his experience of moving from the Dominican Republic as a young boy," she reveals. I visited a dual language class at a local school and found the students eager to share their recent experiences of moving from China to the Lower East Side.

"I also discovered more about my family history through interviewing my mother. Although the stories I heard came from different places and eras, I couldn't help but notice how much they had in common."

Interior from Five Stories. Text © 2024 by Ellen Weinstein illustrations © 2024 by Ellen Weinstein. Used with permission from Holiday House Publishing, Inc.

Interior from Five Stories. Text © 2024 by Ellen Weinstein illustrations © 2024 by Ellen Weinstein. Used with permission from Holiday House Publishing, Inc.

In fact, Ellen's family has been part of the neighbourhood's fabric for the past 120 years. And she herself, as a lifelong resident, has witnessed how it has managed to change yet remain the same. "As I dug deeper into the history, I began to look at places I would just walk by with a deeper understanding and appreciation of the stories they contain," she says.

"Some of the research brought back my own memories of stores and people like the Knish vendor and the local Double Dutch champions."

And what is the elusive character that pulls the neighbourhood together? Ellen concludes that it is rooted in history and defined by a diverse, vibrant and thriving community.

"It is a special place shaped by the layering of tastes, stories, sounds, and histories of the people who have made it their home," she says. "The Lower East Side and the story of immigration to America are inextricably linked."

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Opening Line gives a voice to brand language through its new publication Between the Lines Mon, 11 Mar 2024 10:00:00 +0000 Abbey Bamford https://www.creativeboom.com/news/opening-line-gives-a-voice-to-brand-language-through-its-new-publication-between-the-lines/ https://www.creativeboom.com/news/opening-line-gives-a-voice-to-brand-language-through-its-new-publication-between-the-lines/ Designed by Extract Studio, the publication was made to be more than a monotonous manuscript in a bid to inspire creatives to "make more space for words in their practice". Strategy and copy agen...

Designed by Extract Studio, the publication was made to be more than a monotonous manuscript in a bid to inspire creatives to "make more space for words in their practice".

Strategy and copy agency Opening Line has released a new publication, Between the Lines, which explores the vast and often misunderstood world of brand language through the lens of the creative industries.

The first-of-its-kind book ditches monotonous theory and tactics in favour of including many different perspectives from the contemporary creatives shaping brand language today. Its four chapters – Clarity, Character, Community, and Continuity – are delineated by smaller tip-in sheets featuring expressive pull quotes from the interviews.

Opening Line intended Between the Lines to be "a beautifully designed and printed object," says the studio's founder, Zosia Swidlicka, so London-based design studio Extract was hired to work on the design.

A distinctive spiral-bound format and bold typographic palette were combined with an eye-catching fluorescent spot colour, as well as playful illustrations by Franco-Swiss artist Olga Prader. The book's headlines were printed in Giulia Boggio's edgy Margo+Beuys typeface, while the more functional Aeonik font is reserved for the body copy.

Copy is often overlooked in design and advertising. Opening Line is often called to "replace some lorem ipsum or to 'sprinkle some magic' on a half-baked idea", says Swidlicka. She believes that, when used right, words can "express an idea, clarify it, improve it, sell it, and make it real".

In an ideal world, writers should liaise with strategists, designers, and coders from the start to ensure clarity. This way, everyone will be sure of "what to say and how to say it" without "multiple rounds of amends and related headaches," says Swidlicka.

Generally, the branding industry is more guilty than advertisers when it comes to skipping over the verbal identity. Swidlicka explains how brand guidelines often contain "in-depth logo usage rules" with only a single slide on tone of voice.

"If a brand is about influencing perceptions, why would you want people to think you have nothing to say?" Swidlicka questions.

She debunks the old refrain that "a picture is worth a thousand words," arguing that this train of thought results in "one big visual soup where everything looks the same and any deeper meaning or nuance gets lost." The missing ingredient is properly crafted brand language, which can often be the difference between cutting through the noise or blending in with the masses.

Properly crafted is the key phrase there, as tools like ChatGPT cannot replace a well-versed writer. In Between the Lines, writer and creative director Zuki Sedgley describes writing as "a series of crucial decisions that must be made about a brand's positioning, proposition and personality".

Swidlicka adds that AI-generated copy is just "generic fluff" that "perpetuates the cycle of blandness" in comparison to a carefully curated verbal identity.

The lack of appreciation for brand language can also lead to clients thinking they can write the copy themselves when the same would never be said about design. Effective brand language comprises "critical thinking, an outsider's perspective, a well-defined tone of voice, an understanding of the intended audience and a storyteller's ability to establish a good hook and hierarchy", Swidlicka explains.

Opening Line began working with Patch – a company that develops design-led work and culture spaces - when it only had one location set up in Chelmsford but had ambitions to scale up nationally. Its verbal identity was identified as a core challenge, specifically how to maintain consistency across multiple locations, audiences and channels and, more importantly, how to establish an effective way to communicate its rather complex offer.

Through a series of workshops and an iterative writing process, Opening Line was able to devise a language with which Patch could engage its stakeholders and communities. "Now when the team creates on-site posters or signage, markets a new event, shares community stories or launches in a new city, they know exactly what to say and how to say it", says Swidlicka. "Copy, together with strategy, eliminated the uncertainty."

Her advice to designers, or anyone, looking to learn more about brand language is to ensure clarity when it comes to the brand's point of view and to bring writers into the process. Equally, Swidlicka advises people to prioritise "bringing something new to the conversation, rather than trying to sound clever or parrot other brand voices".

Between the Lines was developed to inspire people, studios and agencies to "make more space for words in their practice", says Swidlicka, whether it's "adding them to their own design toolkit, or collaborating with writers to bring added depth, richness and nuance to their brands".

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Red Rooster creates first wearable tech to satisfy chicken cravings Mon, 11 Mar 2024 07:30:00 +0000 Katy Cowan https://www.creativeboom.com/inspiration/red-rooster-creates-first-wearable-tech-to-satisfy-chicken-cravings/ https://www.creativeboom.com/inspiration/red-rooster-creates-first-wearable-tech-to-satisfy-chicken-cravings/ What do you do in a market dominated by fast food giants that continually steal attention through colossal marketing spend? You shortcut the decision process with AI technology that lets your stoma...

What do you do in a market dominated by fast food giants that continually steal attention through colossal marketing spend? You shortcut the decision process with AI technology that lets your stomach order on your behalf in the moment of hunger.

In an era when US fast food juggernauts often overshadow local favourites, Red Rooster, Australia's beloved chicken shop, also known affectionately as 'Reds', is breaking new ground with an innovative solution that caters to cravings before you even realise you have them. Meet 'craveware', a groundbreaking AI-powered tech marvel designed to deliver on Australians' love for chicken in the most convenient way possible.

Developed by the creative minds at technology agency whiteGREY, craveware is a leap into the future of fast food. This ingenious AI software is designed to pick up on your hunger cues – more specifically, your stomach rumbles – and not just any old noise, but it smartly filters out the unrelated ones (yes, we're talking about burps and farts!). Taking it a notch higher, craveware then places an order for a meal tailored to the intensity and duration of those tummy rumbles. Sounds like something out of a sci-fi movie, doesn't it?

Jono Casley, whiteGREY's chief technology officer, puts it perfectly: "When the odds are stacked against you, you need to change the rules of the game." Casley highlights that Red Rooster, the pioneer Aussie Chicken Shop, has always been at the forefront of understanding and fulfilling chicken cravings. "What better way to win over consumers than by connecting directly with their appetite?" he remarks.

The craveware technology is embedded in a special T-shirt equipped with a microphone to listen in on your stomach's calls for food. Once it catches a rumble, an online order is placed, and voila! The meal is on its way to wherever you are.

Ashley Hughes, Red Rooster's marketing director, shares the excitement: "We've never been a brand to rest on our laurels, so whiteGREY has created a groundbreaking CX solution that satisfies Australia's chicken cravings in real-time, and we are stoked to be the ones to bring it to life.

"By leveraging AI technology, we've created a solution that not only understands hunger cues but also takes the initiative to place orders on behalf of the consumer. It's a seamless, innovative approach to satisfying 'The Rooster Within', and we can't wait to listen to the conversation it creates for, and about, Reds."

Chad Mackenzie, whiteGREY CCO, adds a touch of humour to the discussion, "I think I've asked Jono to explain the convolutional neural network thing a million times, but it still hasn't sunk in. Basically, some seriously cool tech that means you can bypass the normal decision-making process and let your stomach do the ordering for you. I mean, we've got AI threatening to write our copy and pull together all of our imagery for us, so why not order chicken for us?"

To kick things off, Red Rooster is deploying an influencer-led campaign featuring Issac Eats-a-Lot alongside robust PR and digital strategies to drum up even more excitement. Looking ahead, there are plans to integrate craveware in more innovative ways, including potential in-restaurant uses and cross-promotional activities.

And for those eager to join in on the fun, Reds is offering fans the chance to win a year's supply of Red Rooster chicken just for sharing their tummy rumbles. So, as craveware makes its debut this March, the question is: Are you ready to let your stomach do the talking?

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Future Docs' sector-defying identity by Unfound aims to get more students through med school Mon, 11 Mar 2024 07:15:00 +0000 Abbey Bamford https://www.creativeboom.com/news/future-docs-identity-by-unfound-studio/ https://www.creativeboom.com/news/future-docs-identity-by-unfound-studio/ After a turbulent few years for the NHS, Future Docs is on a mission to bolster its workforce by coaching students through competitive med-school applications with an intuitive and accessible brand...

After a turbulent few years for the NHS, Future Docs is on a mission to bolster its workforce by coaching students through competitive med-school applications with an intuitive and accessible brand and website.

Brand design studio Unfound has developed a new identity and website for Future Doc, an educational platform that aims to help future doctors get into and get through medical school. Led by an ownable colour, custom icons and a "reassuringly confident" tone of voice, the new identity looks to take Future Doc to the next level in supporting the turbulent healthcare system in the UK.

Getting onto a medical course at university is not only difficult but extremely competitive, with only 16% of undergraduate applicants and 2% of graduate applicants being accepted. Future Docs offers a 93% success rate for guiding future doctors into med school, which Unfound creative director Jay Topham describes as "a valuable and compelling service, not just for budding doctors, but for the future of healthcare".

In the past few years, the NHS has been at the forefront of our nation's consciousness and made media headlines, not always for positive reasons. Almost exactly four years ago, the Covid-19 pandemic began, and since then, there have been countless doctors' and nurses' strikes, never-ending waiting lists, and a chronic lack of funding for our healthcare system.

More recently, in the budget announcement on 6 March, Chancellor Jeremy Hunt confirmed an additional £2.5 billion of day-to-day revenue funding for the NHS in England in 2024/25, as well as £3.4 billion in capital investment to boost NHS productivity through AI, digital and other tech-related investments.

A financial upturn may well take NHS in a new, more positive direction. However, Future Docs can also make a difference with its bottom-up approach, bolstering its workforce by making medical education more accessible, but not without the right creative and strategic direction.

While there are some brands already operating in this space, Unfound Studio set out to "avoid the conventions of the category", such as clinical blue hues, "childish illustrations", and "transactional language", according to Topham. Competitors came across "more like textbooks than tech platforms", he says, but Future Doc wanted to convey the "emotive side" of med school, from fears of failure and parental pressures to overcoming setbacks.

To set Future Docs apart from the crowd, Unfound led with imagery, which was initially produced using artificial intelligence so that students could see themselves in the brand's communication. Students can see themselves in a graduation gown or wearing a doctor's coat on their first shift, adding another layer of motivation, but they can also see the flip side where they might struggle with studying. The whole idea centres around making students feel heard and being transparent throughout the Future Docs guidance process.

Going deeper into the brief, Unfound Studio had several core aims for the new identity: to increase brand equity as a leading business, to implement consistent communications, and to position Future Docs as the go-to university personal mentoring service within five years.

In response, the studio introduced an ownable green hue as the brand's lead colour- an antithesis to the sea of conventional blues in the space. Unfound also designed four custom icons to signal growth, journey, testimony, and study, which are used to sign-post Future Docs and steer users toward specific topics depending on their needs.

The tone of voice was hugely important for this rebrand, so the studio crafted a verbal language that was "reassuringly confident" with "no ifs, buts and maybes", says Topham. Recognising the challenges that students face and building their confidence in the face of those challenges was key to devising the right tone of voice, he adds, explaining how the brand leverages "short impactful statements to inspire people to believe they can achieve".

Unfound Studio was also responsible for Future Docs' website, which was designed around the idea of building "a prominent brand for prominent candidates" and being "visibly better in all the right places", says Topham. A "one-size-fits-all" approach would have fallen flat with this project, as the brand needed to be able to flex across marketing channels with distinct characteristics.

"From intuitive web layouts that guided students through step-by-step processes to attention-grabbing social thumbnails that felt recognisably Future Docs, this project led with a digital-first approach", Topham explains.

One of the main challenges for the studio was reflecting Future Docs founder Dr Ashley Hilton's ambitions for a bold growth trajectory by future-proofing the business model. Topham says the identity work "pushed the concept into a territory that may not have felt particularly familiar for the client to form assets and ideas that could evolve for those future disciplines and subjects".

As a result, the brand toolkit that the studio created can be flexed across medical courses while also considering other sectors and subjects that the platform might cover as it grows, such as Future Lawyer or Future Architect.

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Midday's work for Everiday helps launch the whole foods brand into America Mon, 11 Mar 2024 07:00:00 +0000 Katy Cowan https://www.creativeboom.com/inspiration/middays-work-for-everiday-helps-launch-the-whole-foods-brand-into-america/ https://www.creativeboom.com/inspiration/middays-work-for-everiday-helps-launch-the-whole-foods-brand-into-america/ In a bold move to redefine the global pantry, Midday has unveiled its latest creative work: the rebranding of the Singapore-based whole foods company, now christened Everiday. We find out more. Th...

In a bold move to redefine the global pantry, Midday has unveiled its latest creative work: the rebranding of the Singapore-based whole foods company, now christened Everiday. We find out more.

The rebranding by London studio Midday is part of Everiday's ambitious move into the US and international markets, with a vision to revolutionise pantry shelves worldwide by offering premium products in the competitive space.

The brand's journey from its original identity, 'Foods by Ri', to its new moniker, Everiday, marks a pivotal shift. Everiday aims to elevate the "everyday dining experience", rooted in the philosophy of offering "Whole Foods the Whole Time". Founded by the globe-trotting nutritionist Riyana Rupani, Everiday is a testament to the richness of global culinary traditions, offering a range of staple foods that are not only delicious but also made with the finest ingredients for a healthier choice. We're talking about the finest, better-for-you ingredients, from wholesome granola to delicious condiments.

Midday's innovative design strategy builds on this mission and introduces a modular system that anticipates rapid growth across diverse product categories. Its approach perfectly aligns with Everiday's aspirations to enhance everyone's pantry shelves.

A unique calendar grid motif is central to the new visual identity, symbolising the brand's dedication to "making every day count". This design, which sits in harmony with the typographic logo, is versatile enough for broad application, from packaging to promotional materials, fostering a cohesive yet dynamic brand image.

Meanwhile, the primary packaging is deliberately bold, emphasising the key brand elements for instant recognition. We especially love the choice of typography, a classic serif dripping in confident style. The colour palette feels appetising, hinting at organic foods and earthy flavours. This is complemented by customised secondary labels and wraps, which detail each product's unique characteristics – a nice detail that gives extra credit to the brand's strengths.

"Our design for Everiday reflects Ri Rupani's vision to make every day extraordinary with products that are made better," says Will Gladden, co-founder of Midday. "With Ri's name at the heart of the new name, we pay homage to the brand's founder, her passion and expertise. We are incredibly proud of the result and confident that Everiday will leave a lasting impression on consumers worldwide."

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Aardman creates cute stop-motion films that focus on the 'things we love' about the BBC Fri, 08 Mar 2024 10:00:00 +0000 Katy Cowan https://www.creativeboom.com/news/things-we-love-bbc-aardman/ https://www.creativeboom.com/news/things-we-love-bbc-aardman/ For those fond of Aardman's classic Creature Comforts, a new campaign by BBC Creative involving six new films will bring back happy memories. The vox-pop style shorts highlight the 'things we love'...

For those fond of Aardman's classic Creature Comforts, a new campaign by BBC Creative involving six new films will bring back happy memories. The vox-pop style shorts highlight the 'things we love' about the public service broadcaster.

It was 1989 when Nick Park introduced Creative Comforts to Britain. Cast in a documentary style, the charming film featured a cast of loveable wild animals and pets made out of clay, matched with human voices to great effect. It was groundbreaking at the time, as no one had thought to take unscripted candid interviews with the British public and turn them into stop-motion treats. It was so beautifully done that not only did it become an Aardman classic, but it also scooped an Academy Award.

It led to two television series broadcast on ITV and an iconic set of commercials for the Electricity Board's 'Heat Electric' campaign. Now, it's back in a fresh campaign launched by BBC Creative today. Titled 'Things We Love', it's a heart-warming tribute to BBC content, set across six new films, the first three of which are now available to view.

Like before, Aardman used real people's voices from unscripted conversations before matching them with adorable clay characters. It's all based on what the BBC's audience loves about the service, whether their favourite shows or regular features that make their day.

In one, we meet a family of foxes. "For me, it's mainly news or sport; that's what I watch on the BBC," says the father fox, as they sit together outside a family home at night, leaning against some wheelie bins. In another, we chuckle as we see a hamster talk of Casualty being her favourite, "But mam here can't; she has to look away – you don't like the hospital drama," the lead hamster remarks while another hamster topples over, stuck inside a cardboard toilet roll tube. It's all so wonderfully familiar and hilarious. And the different regional accents only add to the homeliness.

The campaign is part of the BBC's brand marketing strategy, which has also included films This is our BBC and Trust Is Earned for BBC News. "Things We Love is a testament to the enduring connection between the BBC and its audiences, with real people sharing their personal, authentic reflections on their favourite BBC programmes," says BBC Chief Customer Officer Kerris Bright.

Justin Bairamian, director at BBC Creative, adds that it's part of the corporation's mission to always work with the best UK talent to bring their ideas to life. "It was a privilege and joy to work with Aardman on these films. The craft and skill involved in telling these stories are extraordinary, and it gives them real charm and authenticity."

How did Aardman feel about bringing back to life this much-loved stop-motion approach? "The magic and joy of this type of animation is that all the dialogue is unscripted and selected from real conversations with members of the public from across the UK," says Sarah Cox from the Bristol-based studio. "And that's where so much of the warmth, humour, and storytelling come from. The interviews inspire the Claymation animal character scenarios. We hope that viewers love these new creatures as much as we do."

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&Walsh's dynamic identity for Quality Experience allows it to adapt to any client Thu, 07 Mar 2024 07:30:00 +0000 Dom Carter https://www.creativeboom.com/news/qx-walsh/ https://www.creativeboom.com/news/qx-walsh/ Renowned New York-based creative agency &Walsh has today unveiled a dynamic identity for independent agency Quality Experience. With an adaptive 3D logomark at its core, the branding wants to m...

Renowned New York-based creative agency &Walsh has today unveiled a dynamic identity for independent agency Quality Experience. With an adaptive 3D logomark at its core, the branding wants to make all clients and projects feel welcome.

&Walsh, the creative agency founded by Jessica Walsh, is well-known for making risk-taking work to a crazy high standard that functions for their client's goals and "resonates with their audiences". In their hot-off-the-press identity for the new advertising agency Quality Experience (QX), they've achieved that by making dynamic, adaptable branding.

Founded by Global Chief Creative Officer Ari Weiss earlier this year, QX is an independent, full-service advertising agency on a mission to "foster purposeful interactions between brands and their audiences". It aims to do this by creating quality experiences and an environment where bold ideas can flourish. In other words, it was the perfect challenge for &Walsh to get its teeth into.

To create a space where clients and projects from all walks of life can achieve their full potential, &Walsh decided to embrace tension and duality. Rather than playing it safe, they have showcased a striking balance between friction and beauty in their identity that is flexible enough to encompass different personalities and tones.

By its nature, QX is not a "one size fits all" agency. And this, of course, meant that its logo system could not follow suit. To this end, &Walsh developed a dynamic range of logomarks that purposefully adapt to each client's unique personality. "Our goal with this variety is to ensure each client sees themselves within QX's brand universe," it explains.

This shape-shifting logo can be applied to everything from OOH materials to digital assets and business cards. Using the QX initialism as its basis, the logo can be adapted from somewhat floral letterforms right the way through to more contained, rounded shapes, plus many more in between and beyond.

"To further personify QX's brand, we created a 3D logomark that takes the shape of a living organism, embodying the brand's organic and ever-evolving essence," says &Walsh. "In this biosphere, the logomark breaks through the limits of its 2D shape, expanding into a 3D living organism."

It's a subtle yet striking idea and one that's executed with & Walsh's flair for innovation and excellence. After all, no two brands and no two clients are the same, so why should they expect a by-the-numbers approach to branding? Thanks to &Walsh, QX can deliver a personable experience to its clients while retaining a signature image distinct from its own identity.

"Working with &Walsh has truly been an exceptional 'quality experience' (pun intended)," says Cristina Reina, chief creative officer at Quality Experience. "The care, collaboration, and talent within those walls are truly remarkable, making the journey not only creatively fulfilling but also remarkably aligned with the essence of our company."

"& Walsh's strength lies not only in design but also in their strategic and conceptual thinking. The concept of creating a dynamic brand system to showcase our agency's ability to flex and adapt based on the unique problems and ambitions of our clients was a huge unlock for us."

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Watching Keiko Kimoto paint showed me the unique power of subconscious creativity Thu, 07 Mar 2024 07:15:00 +0000 Dom Carter https://www.creativeboom.com/inspiration/keiko-kimono/ https://www.creativeboom.com/inspiration/keiko-kimono/ Japanese painter Keiko Kimoto recently impressed audiences with a live painting demonstration at the opening of her latest exhibition, Okurerutaiyou: Delayed Sun. And Creative Boom was lucky enough...

Japanese painter Keiko Kimoto recently impressed audiences with a live painting demonstration at the opening of her latest exhibition, Okurerutaiyou: Delayed Sun. And Creative Boom was lucky enough to have a front-row seat to watch the balletic artist in action.

There's an impulsiveness at the heart of Keiko Kimoto's work. In her paintings, restless figures appear to leap away from the viewer, and even more traditional still-life pieces are depicted with an energy that reflects the artist's spontaneity. Indeed, it's not unknown for her to hastily move on to a new picture shortly after completing another.

As Creative Boom has already reported, the last 20 years of Keiko's work is currently on display at Lucerne's Impulse Gallery, where audiences can see how her experimental paintings are an expression of pure joy. The show runs until 16 April and features 57 pieces, plus a special piece created live during the private viewing to the amazement of attendees.

Hosted by gallery founders Claudia Limacher and Tim Zhuang, the private viewing culminated in Keiko painting in front of audiences while accompanied by a harpist. Throughout the demonstration, viewers could watch in real-time as she painted with mop-sized brushes in balletic flourishes.

Suggestions of figures appeared to come forward and recede during the process, while at other moments, huge sweeping daubs of paint would be smeared across the canvas. Rendered in washes of blue and white with line work snaking its way across the picture, the finished piece was emblematic of an approach inspired by the Japanese concept of Ma and the impermanence of wabi-sabi.

Speaking at the private viewing, Keiko told Creative Boom that her paintings, like the one she created on the night, are built on subconscious spontaneity. "Some are related to memories that I've had, but that's not intentional," she explains. The images come to me while I'm crafting the paintings."

Indeed, it's important for Keiko to be present in the moment when creating her work. "I don't go in with an intention, but it all comes out through a combination of the materials and the canvas," she adds. There's almost no consciousness within the practice.

"I draw a line without memory and an idea. The colour harmonises visually with my feelings, connecting with my emotions."

The physicality in Keiko's paintings was a highlight of the demonstration. When she wasn't putting brush to canvas or stepping back to asses her next move, Keiko would move around the space with the rhythm and flexibility of a dancer. Yet even this is not a premeditated part of her approach. "This is a more subconscious way of moving and being active," she reveals.

When Keiko is painting, both mind and body work on a subconscious level. It's not unknown for her to use both hands to tap into the right mindset. "They're different actors," she says, suggesting that each has their own influences and personalities that come out during the creative process.

In the exhibition space, it's possible to glimpse how Keiko's art has evolved. Figurative depictions begin to melt away over the years, with her later work taking on a more abstract approach. Yet even then, a sense of place remains. "I'm very in touch with Japanese landscapes, and my work can be very nostalgic about leaving my past behind," she says.

That said, there is an amusingly straightforward answer to Keiko's stylistic shift. Even though she's a fan of the greats of the Impressionist movement – "Matisse is king!" – she's wryly upfront about why figures have started slowly disappearing from her work over the years: "I'm getting bored!"

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Fun or frightening? Watch Niv Tishbi explore the nature of carnivals in striking solo show Thu, 07 Mar 2024 07:00:00 +0000 Dom Carter https://www.creativeboom.com/inspiration/niv-tishbi/ https://www.creativeboom.com/inspiration/niv-tishbi/ Tel Aviv-based artist Niv Tishbi examines the nature of carnivals and looks at how they can turn from fun to fear in his latest solo show at the Herzliya Museum of Contemporary Art. There's nothin...

Tel Aviv-based artist Niv Tishbi examines the nature of carnivals and looks at how they can turn from fun to fear in his latest solo show at the Herzliya Museum of Contemporary Art.

There's nothing like a carnival to bring people together. Social boundaries are broken down, the orderly structure of day-to-day life is briefly cast aside, and communities rally around in the spirit of celebration and entertainment. But is there a darker underside to these festivities?

Niv Tishbi turns his attention to that in The Carnival, a new installation at the Herzliya Museum of Contemporary Art in Israel. Made up of 15 brightly coloured, human-sized sculptures, this solo show freezes a moment of marching crowds in time and questions whether a more sinister essence might be simmering beneath the surface.

Are the figures happily gathered together, or have they been whipped into an angry mob? Their angular limbs and the inclusion of more disturbing elements, such as muzzled dogs with faces poking out of their mouths, hint at a more malevolent motivation behind the carnival.

"In its origin, a carnival is a folk ritual that highlights elements of freedom, fantasy, and imagination," says the gallery. "It defies the social order by celebrating forbidden desires, breaking boundaries and taboos, and unleashing passions.

"The Carnival created by Niv Tishbi is a frozen moment in time of what may be a celebration, a demonstration, or a military parade; an orderly procession of figures being led or leading, walking in silence or shouting. They are breaking through the museum's wall, marching toward the unknown."

Curated by Yuval Saar, the exhibition of wooden, metal and plastic sculptures is more pertinent than ever, given the war currently engulfing its surroundings. Indeed, the sculptures on display depict militaristic, tragic and symbolic imagery.

The gallery adds, "Tishbi gives free rein to hidden desires, to the appeal of the aesthetics of violence, terrorism, and disasters, to the addiction to anxiety, panic, and the consumption of mass media, which inflames passions and turns horror into entertainment."

"While carnivals aim to bring social and political liberation, Tishbi's carnival depicts a march where liberation is expressed as a cult of violence. It wishes to shine a spotlight on the dreadful worship of the ritualism of military parades and our endless consumption of power, chaos, and violence."

Are the marching figures celebrating a victory or commiserating a defeat? Thanks to their grotesque, parodic renderings, it is impossible to tell. Still, according to Dr Tal Barli, their significance lies in the fact that they contain the "seed of calamity"; in other words, the active or passive potential to change the course of regular life.

"Tishbi uses the carnival as an instrument of political critique," Dr. Tal Barli explains. "The carnivalesque character of the installation, with its ceremonial air and grotesque bodies, makes a strong statement about organised processions and parades.

"It is a subversive call wrapped in an attractive visual aesthetic that seeks to shine a spotlight on compartmentalisation and exclusion, as well as on rituals and our society's veneration for ceremonious military parades and endless consumption of violence, coercion, and chaos."

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Anorak founder Cathy Olmedillas on creating new ventures and why slow success is the best Wed, 06 Mar 2024 07:45:00 +0000 Dom Carter https://www.creativeboom.com/features/cathy-olmedillas/ https://www.creativeboom.com/features/cathy-olmedillas/ Since 2006, independent kids publisher Studio Anorak has taken children's magazines in bold new directions. As it celebrates its 18th anniversary, we caught up with founder Cathy Olmedillas to hear...

Since 2006, independent kids publisher Studio Anorak has taken children's magazines in bold new directions. As it celebrates its 18th anniversary, we caught up with founder Cathy Olmedillas to hear about what she's learnt on the way, how she's taking Anorak to new markets, and what creatives should keep in mind when embarking on fresh ventures.

They grow up so fast. Anorak may be the 'happy mag for kids' aged between six and 12, but it's recently hit a big milestone as it turns 18. Founded by Cathy Olmedillas, Anorak encourages its young readers to tap into their imagination, use their creativity and amplify their voices. It does this with the help of incredible designs and illustrations, and with new territories in its sights, it looks set to get bigger and better than ever.

Age is just a number, though, and for Cathy, being eight does not mean she feels that Anorak is all mature and sophisticated now. "I am majorly grateful, and a bit misty-eyed, that we have been able to last that long, and in disbelief over the support we are still receiving," she tells Creative Boom.

"Eighteen years is a lot, but every issue feels like a new creative experience, so I am far from being jaded yet! The last 18 years have been a lesson on how to just do something, silence the critics and keep going regardless."

Just like any publication, Anorak has had to adapt to survive. When it was first launched, Cathy points out that it was more of a lifestyle magazine for kids, with plenty of tips on what to wear and places to visit. "My model was The Face, where I used to work," Cathy explains. "I quickly realised that the last thing parents and children needed was more reasons to buy stuff, so I pivoted it to more of a reading and creative experience.

"That's when it resonated most with our readers, who appreciate it as a calm space where they can learn and exercise their imagination. I have also found that our mission to inspire children with the joys of creativity is becoming more and more pertinent, as education is obsessed with numbers and exams, and we are all hooked to our screens."

It seems to be a winning move. In fact, Anorak's success has led to it being approached by agents in Korea and China, offering exciting new regions for the magazine to expand into. "The publishers we work with understand our ethos and look after our titles really well, so we are very lucky! "

Far from being a strategic move, this growth occurred naturally, with publishers expressing an interest in Anorak's titles for specific reasons. "I think our high production values mean that we are seen as books rather than magazines, so it helps attract book publishers," Cathy reveals.

Branching out can be daunting, no matter how incredible your work is and how well it's received. Even Cathy can be cautious. "I love new ventures, maybe a bit too much!" she laughs. "But 18 years later and a little wiser, I have learnt that not all ideas are good!

"So what I do now is write projects down and let them unfold. I give them some time and then ask the hard questions with a bit of perspective: do they still excite me as much as when they first visited me? How much money would I lose or make if I went ahead with them? Do they really matter, i.e. are they vital? Will they benefit people and the planet, or will they waste resources? I find that these help me figure out whether I am absolutely convinced I can spend all my energy making them work."

As well as taking Anorak to new regions, Cathy has been busy launching her production and talent agency antonia&louise. Having worked in the advertising agency as an executive producer for 15 years and witnessed how the industry can get stuck on the same artists, she wants to use antonia&louise to shake things up for the better.

"While there is a lot of talk about representation and access, there is so much more to be done," she says. "Our premise is to help the less established ones get their foot on the ladder and support them all the way because we know they can rival the more established ones. Talent isn't all about having tons of experience. We work with many independent artists, more than we officially represent, and we picked up some amazing projects in 2023, so let's hope 2024 will be as kind!"

When it comes to supporting young talent, Cathy's agency will pitch them to art directors, advise them on all aspects of their careers, and invest in making things happen for them. "For example, photographer Emmanuel Cole's big ambition was to launch his first book to celebrate his ten years in street photography," she reveals.

"We know how to publish books, so we made that happen for him with Bearing Witness. We worked with designers/ printers and promoted it to the press. I am passionate about 'letting creatives create', so this is my way of facilitating that. We deal with everything the creatives don't want to do!"

Cathy's advice isn't limited to her clients, though. She's even got a few pearls of wisdom for creatives looking to strike out and do something new like her. "Be patient," she concludes. "If you had given me that advice 18 years ago, I probably would have rolled my eyes because who wants to be patient when you have a burning idea you want to launch?!

"Even though the world wants us to believe that success happens overnight, my experience is that it doesn't. It takes ages, and it's actually quite a good thing that it does. Slow wins the race, as they say."

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Overdose: Esther Rou Jiao's animation shows why it sucks to hoover up your emotions Wed, 06 Mar 2024 07:30:00 +0000 Dom Carter https://www.creativeboom.com/inspiration/overdose/ https://www.creativeboom.com/inspiration/overdose/ New York-based graphic and motion designer Esther Rou Jiao looks at how removing negative emotions isn't the miracle cure-all you may imagine it to be in her award-winning animation Overdose. It's...

New York-based graphic and motion designer Esther Rou Jiao looks at how removing negative emotions isn't the miracle cure-all you may imagine it to be in her award-winning animation Overdose.

It's easy to feel burnt out, exhausted and fatigued in the modern world. With a constant stream of negative information and work coming your way through your computer screen, it's all anyone can do to feel upbeat. But a solution like a hoover that sucks up negative emotions may lead to problems of its own.

This is the premise behind Overdose, a trippy, sci-fi animation made by multidisciplinary creative Esther Rou Jiao. In it, we follow the journey of a white-collar worker who becomes addicted to using a vacuum cleaner that gets rid of unpleasant feelings, yet also secretly erases his interests, hobbies and happiness in the process.

"Interestingly, despite the title being Overdose, the excessive use of this negativity remover is, in some ways, the opposite of traditional drug abuse," Esther tells Creative Boom. "The former enhances a person's instrumental qualities, while the latter is a purely mental trip, the highest form of hormonal pleasure."

Created over three months, Overdose is a personal project which Esther wanted to use to explore "the boundaries of human instrumental qualities." Picking up where the likes of Black Mirror and cyberpunk leave off, Overdose examines the mechanisation of people and how humans become machines.

It's a theme that Esther has a personal connection to. Having drawn with Procreate for a long time, it is now her first instinct to double-tap a traditional piece of paper with two fingers to erase a mistake like she does in the software.

"Also, the muscle memory of using the command+z key in Apple systems to undo actions made me instinctively try to use it when I accidentally spilt water, even though it doesn't work in the real world," she adds.

After noticing these tendencies in herself, Esther came up with the idea of a protagonist whose interactions with the world gradually started to follow the logic of Adobe tools. "This idea stems from a designer's perspective, emphasising the notion that tools can be seen as extensions of certain organs," she adds.

This idea would eventually become the character seen in Overdose. And while a patch that removes unpleasant feelings may sound appealing on the surface, is it worth the price of joy and, ultimately, humanity? It's a question that touches on topics such as AI and human worth that are currently swirling around the zeitgeist and one with a solution that lies in community and spirituality, according to Esther.

"Human nature is destined to break free from this instrumental enslavement, and while artificial intelligence can be a partial solution, a deeper solution requires a global cognitive awakening," she explains.

Interestingly, Overdose was Esther's first animation outside commercial motion graphics projects. Whereas client work often demands that certain product features be showcased, Overdose offered its own sense of joy and fulfillment by letting her focus on telling a story instead.

This presented its own challenge, though, as Esther was not used to beginning with the task of writing a story before tackling the animation. Client work often tends to involve a few sketches backed up with massive amounts of research, along with storyboards, style frames and animatics. "The actual animation process usually only takes less than a month, but the previous steps for setting up the entire animation take 70% of the time," she reveals.

Speaking of style frames, the unique look of Overdose is built on beautiful visuals that Esther originally had no idea how to animate. "As a designer, I'm better at animating icons or something way more abstract than realistic objects," she says. "So, I started slowly adjusting how they looked until I found the answer."

The animation process took its toll on Esther, as she even began to feel burnout during the production. However, rather than reaching for her version of the negativity hoover, she learnt the important lesson that not everything will be perfect, and that's okay.

"I used to set high standards for all my design work, but this time, I didn't know what I wanted anymore," she says. I was not as satisfied as I was before. And I know this animation is not my best, and I could've done better if I was in a fully motivated state of mind. Sometimes, it's better just to do it, though."

Just as Overdose is something of a cautionary tale about how people relate to themselves and their jobs, Esther had an epiphany that reflects these themes. "I stopped defining myself through my work and learnt to love myself no matter what happened," she concludes.

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Between the Wrinkles: New Joe Sorren exhibition is a 'hymn to the beauty of life' Wed, 06 Mar 2024 07:15:00 +0000 Dom Carter https://www.creativeboom.com/news/joe-sorren/ https://www.creativeboom.com/news/joe-sorren/ Surrealist artist Joe Sorren is about to make his debut at Dorothy Circus Gallery's London gallery with a solo exhibition titled Between the Wrinkles. Bursting with the vibrant colours and distinct...

Surrealist artist Joe Sorren is about to make his debut at Dorothy Circus Gallery's London gallery with a solo exhibition titled Between the Wrinkles. Bursting with the vibrant colours and distinctive characters which have made his name, it promises to be a "hymn to the beauty of life".

Described as an "emblematic artist of the new surrealism" movement, American painter Joe Sorren has helped to reshape the landscape of contemporary art, which was previously dominated by abstract expressionists. Now, if you're in London, you can marvel at his work in the Dorothy Circus Gallery.

That's because his work will be on display between 9 March and 6 April as part of the Between the Wrinkles exhibition. The show consists of new paintings that explore the artist's emotions and memories. The pieces see Sorren searching for the "essence of bygone moments".

Nine new paintings make up Between the Wrinkles, which represents Sorren at the height of his powers. This collection promises enchanting artworks that showcase the maturity of his ability as an artist. And it's something of a dream come true for the exhibition's organiser, too.

"My first encounter with Sorren's art was in 2005, during a visit to the Billy Shire gallery in Los Angeles," says Alexandra Mazzanti, Dorothy Circus Gallery Director & Owner. "A particular painting caught my eye, casting a mesmerising spell that enchanted me. Since opening my gallery in 2007, it has been my fervent aspiration to someday exhibit his works.

"In Sorren's canvases, time becomes primordial, and we live an immersive experience, captivated by the forms and sudden spaces of light, while we ponder the sentimental dynamics unfolding before our eyes."

He adds: "In this exploration, we let ourselves go as if reading a literary masterpiece that keeps us glued to the pages and carries us away to places of the soul that we will never forget and will revisit whenever we need."

Part of what makes Sorren so popular and endearing is that his work represents an intersection of impressionistic and contemporary references. Conventional boundaries are transcended via his masterful brushwork, and his canvases are infused with a sense of regeneration and transformation.

"This generates a vision where every brushstroke resonates with the pure, unadulterated sound of happiness, able to shift the world we are in into something belonging to another dimension, made of emotions only," adds Alexandra.

"This transcendent experience is a testament to Sorren's ability to evoke powerful emotions through his canvases, leaving an indelible mark on all who have the privilege of encountering his work."

A prime example of how Sorren creates an intricate interplay between the artwork and its observer can be seen in the piece titled The Critic. This remarkable painting shows a woman with red hair writing while reclining on a rocky perch and observing the tranquil expanse of the sea as it stretches out to the horizon.

"Her gaze speaks volumes, reaching into a distant realm that lies solely within the confines of her own thoughts and imagination," Alexandra explains. "It's a poignant reminder of each individual's personal, intimate connection when engaging with art, that connects with their inner world, often a place others can't access. This contemplative depth adds an extra layer of intrigue to the painting, inviting viewers to ponder the depths of the subject's inner thoughts and emotions.

"Through Sorren's deft brushwork and evocative imagery, The Critic becomes a testament to the power of art to bridge the gaps between us, offering a glimpse into the profound connections that can exist between individuals, even in the absence of direct encounter."

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Fun stunt outside Adweek conference makes serious point about creative tools Tue, 05 Mar 2024 07:31:00 +0000 Tom May https://www.creativeboom.com/resources/fun-stunt-outside-adweek-conference-makes-serious-point-about-creative-tools/ https://www.creativeboom.com/resources/fun-stunt-outside-adweek-conference-makes-serious-point-about-creative-tools/ Dropbox rival Air devised a hilarious way to advertise their tool in New York City. We delve into the campaign and explore why using Air to streamline your assets is a smart move. It was the oddes...

Dropbox rival Air devised a hilarious way to advertise their tool in New York City. We delve into the campaign and explore why using Air to streamline your assets is a smart move.

It was the oddest protest of the year so far, and even New Yorkers, who are more used to seeing weird stuff than most of us, were largely baffled.

Outside the entrance of Adweek's annual Commerce Week conference, a gaggle of elderly protestors raised banners with slogans such as 'Let me live to see my download finish' and shouted chants like 'I'm too old for this shit, Dropbox, you need to quit!'

The bizarre event, which was accompanied by a parody website called Silicon Gables, was basically an inventive way for creative collaboration platform Air to get their message across. That message is that outdated asset-sharing tools are taking up too much of our time and holding creatives back from being, well, creative.

As intended, this campaign really caught our attention, and we were keen to chat with Air about how they put it together. We'll get to that in a moment, but first, it's worth explaining what Air is all about and how it can help you become more creative and productive.

How Air can help

Have you ever had a day when you felt like you did a lot of work, but you didn't actually do anything creative? Instead of fully indulging your passion for art, design, photography, illustration or film-making, you've been staring at a laptop for hours, answering endless email requests, like: "Can you send me the assets to our latest release?"

To which you think: "Which assets are they talking about? What release? Urggh, this is probably going to take ages to sort out...."

We've all had days like this. And if you're not careful, this kind of time-suck will start happening more often and increasingly eat into your time.

Recentre your workflow

We can all sense it: demand for digital assets like images, videos and graphics is growing exponentially. And that's putting immense pressure on us to produce more, with faster turnaround times. In fact, it often feels like we spend more of our time managing assets than we do creating them.

So how do we recentre our workflow away from what is essentially admin and back to the imaginative, creative, fun side of our jobs?

Well, in a nutshell, you need a platform that will automate everything for you and centralise your creative assets. And that's where Air comes in.

One hub, no stress

Founded by two Stanford roommates in New York, Air is revolutionising how teams manage their digital assets and creative workflow.

So how does it work? Well, quite simply, Air brings together all your creative tools and content sources into one centralised hub.

This streamlined workspace allows everyone involved in a project to easily access assets, express ideas, provide feedback, approve content, and make decisions without jumping between multiple apps and disorganised folders.

In other words, no more requests for you to dig out random files from your hard drive. No more trying to work out whether the current version is the one called "coverimage.final", "coverimage.final.final", or "coverimage.final.final.final". No more clients opening the wrong file and getting confused. In other words, no more wasted time, miscommunication and all-round frustration.

And that means you can spend less time sorting through redundant assets and more time unleashing your creativity.

Growing concern

This isn't a secret, by the way. Over 120,000 users rely on Air every day to centralise their images, videos and other creative files in one unified library.

Air is used across the world today by large enterprises and major brands like Google, Sweetgreen, and Procter & Gamble. And overall, nearly 100 million assets are currently being organised through a single, organised workspace.

But Air isn't just for big brands. Its free starter plan means companies of any size can take advantage of its powerful media management capabilities.

How the campaign was made

Ariel Rubin, the head of content at Air, explains the serious point behind the stunt. "Creative work is becoming more complex because more people and tools are involved," he says. "In the past, people used data-agnostic cloud storage to manage that work.

"The challenge today," he continues, "is that the logistics have gotten too complicated. Instead of doing great work, creatives spend their entire day working through logistics. That is the frustration we hear from so many customers who come to us from tools like Dropbox and Box – and what we wanted to embody with our angry elderly protestors."

But why picket the Adweek conference? "We always want to go where our customer is," Ariel explains. "So we thought it'd be fun to do that literally. We want to win over creative leaders. We believe our product speaks for itself. A protest with its potential for great content and even virality is really just a way to bring a megaphone."

It all came together quite quickly, he explains. "We hired a publicity company called Crowds on Demand that focuses on crowd events and IRL activations to bring together a group of actors who were in their 60s and 70s. The concept was to gather a cohort of elderly retirees holding up signs that said 'Retire Dropbox' and 'I was 28 when I started downloading this file' to the entrance of Adweek's annual Commerce Week conference.

"We wrote chants such as 'We are retired. Dropbox you’re fired', and even hired a fake news crew to 'cover' the event," he adds. "We built a landing page for a website for a fake retirement centre featuring other aged software being taken care of by support staff. We called it Silicon Gables."

It's a great idea, brilliantly realised. And like most successful campaigns, it fundamentally works because it's drawing on something we all feel in our gut. That our current tools just make our work too fiddly and waste too much time, and there must be something better out there. Well, it is – it's called Air, and you can get started for free here.

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