In quick succession, the brand has released two films emphasising different aspects of the iPhone X: the ability to unlock your phone with a look, and to pay for items with a glance.
Both of these new ads are at their heart product demos, though for decades now Apple has shown that demos don’t need to be dull. Stretching back to the brand’s early iPod ads, Apple has given us films which show off the clever features of its products in witty and charming ways.
Director, Unlock: Dougal Wilson
Director, Fly Market: The Daniels
Anthony Gerace has a knack for creating images that grab your attention and invite closer inspection. His project There Must Be More to Life Than This is an intriguing collection of tiled collages created using vintage ads. People Living – another collage series – combines photographs and lettering with colourful scraps of paper to striking effect.
By Marina Alyokhina
Designer: Tom Etherington
Art Director: Jim Stoddart
Imprint: Allen Lane
By Will Dean
Designer: Mark Swan
Imprint: Oneworld Publications
The shortlisted work in each 10 category is on the ABCD site, here
On New York’s 8th Avenue, a new museum rich with interactive experiences promises that the visitor will “see yourself and the world around you more clearly through the lens of spying”. We look at how a team of creative talent brought this ambitious new experience to life.
Led by Walter, SomeOne were appointed to work on the brand, developing the Question Everything tagline. Working with type designer Gareth Hague of Alias, SomeOne devised a visual identity scheme in which a bespoke typeface with three cuts plays with the notion of concealment, privacy and cryptography. “The typeface is unusual as it consists of three cuts that can be connected,” says Emily James, Project Lead Designer at SomeOne. “Two ‘redacted’ cuts show only part of the letterform, but often enough to distinguish what character it is. The third cut is a complete letterform that can either be used to hint at the remaining stroke, or used in its entirety for total clarity.”
It is now eight months since a fire ripped through Grenfell Tower in West London, killing 71 people and leaving hundreds without a home.
An inquiry into the fire is still ongoing but as yet no arrests have been made and many of the building’s former residents are still awaiting permanent housing.
To remind people of the tragedy – and the need to seek justice for those affected – community organisation Justice 4 Grenfell has been driving three billboards around London that read: “71 deaths. No arrest. How come?”
The billboards were created by BBH Labs and inspired by the Oscar-nominated film Three Billboards Outside Ebbing, Missouri – about a mother who hires ad space to raise awareness about her daughter’s unsolved murder. (The billboards in the film feature the same black-and-red design and read: “Raped while dying. And still no arrests. How come, Chief Willoughby?”)
Billboards were driven past St Paul’s and the House of Parliament. Writing on its website, Justice 4 Grenfell said: “These three billboards are here to keep this tragedy in the national conscience, to make our voices heard.”
Many buildings around the UK are still awaiting replacement cladding (the fire at Grenfell is believed to have spread rapidly through the building as a result of cladding which contained a highly flammable material) and local councils have claimed that requests for money to fund refurbishments are not being met.
Design studio dn&co has created a new identity system for Isokon Plus – the British furniture company.
A ‘+’ symbol now appears after the Isokon brand name – the company had been using the word ‘plus’ but dn&co designer Ed Hawkins says this “looked a little crude typographically”.
“We gave them a + icon because it’s more universal,” he adds. “It also puts the focus back on the Isokon brand and highlights this notion of collaboration.”
A sliver of wood was cut from one of the many trees used to build Shakespeare’s Globe in the 1990s. This was used to create the theatre’s new logo. The logo is part of an identity system that aims to challenge perceptions of the Globe as a heritage site aimed at tourists and instead show it as an exciting place to experience Shakespeare’s work.The theatre’s new logo – a 20-sided ring that resembles an ‘O’ – references the theatre’s distinctive shape.
The ‘O’ can be moved around and has no fixed position – it appears in various places and at various sizes on posters and printed material created so far.
The identity also features an all-caps wordmark in typeface Effra (chosen for “its historic roots”) and a red, black and white colour palette (the colours available to printers in Shakespeare’s era).