Manchester creative agency Love was tasked with designing the concept, visual identity and packaging for the new limited-edition release by the skincare brand and its latest collaborator: The Andy Warhol Foundation.
Known for having an impressive assortment of ointments and lotions, Warhol had a unique point of view on beauty, which he expressed in statements such as, “If everyone isn’t beautiful, then no one is.”
The agency opted for a design aesthetic that tapped into another of the artist’s passions: broadcast media. He was at the vanguard of developments in television, for instance, even having his own MTV cable shows, and would regularly question the relationship between art and mass media.
Noir’s practice has a strong emphasis on line and aims to simplify forms to their most basic elements. This simplicity reflected the necessity of painting quickly outdoors in a hazardous environment with very real risks to his personal safety. Noir reacted to his environment and his monsters are a metaphor for the Wall itself, each one relating to his experiences or feelings of what he calls a ‘killing machine’.
In his new exhibition and book Cartographic Colour, photographerGiles Revell deconstructs flowers to reveal the beauty and the complexity of colour in nature. Working at Kew and the RHS Wisely garden, Revell photographed a selection of blooms which, using a grid placed over each image, he then set about analysing.In each square, Revell created graphic representations of the constituent colours of the flower concerned, revealing that what we might see as one strong colour, is often actually a combination of many. Cartographic Colour is divided in two. A series of ‘palettes’ reinterpret the colours of well-known flowers, abstracted to eliminate the distraction of form. Petals and stems are reduced to accurate graphic examinations of their constituent hues. “The plants were stripped of identity through the process of mapping, with the aim of creating a series of images where engagement is purely through scale, shape and position of colour,” Revell explains. “I was hoping to make arresting interpretations without the necessity of structure and form.”