Many of McDonald’s recent campaigns, particularly those for France, have had a stripped-back, minimal aesthetic. Now TBWA\Paris has revealed a new set of minimalistic posters, which follow the popular sparkly Open Late campaign, launched just last month.The three posters in this campaign feature just the packaging of the brand’s three archetypal products – the Big Mac, the Nuggets and the French Fries. The brand takes minimalism to a new extreme with these posters which are devoid of any text, or even the actual product; just a few lonely crumbs.
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.”
Since it was first launched in January 2015 Sport England’sThis Girl Cancampaign has inspired women to get more active and been applauded for promoting more realistic standards of health and beauty.
The campaign is now in its next phase, and continues to celebrate women of all shapes and size and varying physical abilities. This time around the ads and posters are more age inclusive, featuring several women in their fifties and sixties.
For the past two years, Dave Mullen has scoured the web for images of buildings shot from the same angle. His Instagram account,@geometryclub, is a visual treat – a series of perfectly aligned photographs showcasing a range of architectural styles.
Mullen launched the project in 2014. “I’m a graphic designer by trade but photography has always been an integral part of my work. The idea came about during a week in New York with my girlfriend in September 2014. I had been really in to shooting architecture around that time and was always looking for shapes and symmetry within the buildings. Before I knew it, I had ten or 15 of these symmetrical, triangular compositions,” he says.
As a celebration of the music heritage of the capital, Alex Bartsch’s latest project puts the reggae artists and musicians of the 60s, 70s and 80s right back into the surroundings which helped form their work.
Holding each album cover at arms length, he has reshot a series of over 40 reggae sleeves in exactly the same place as they were originally taken in postcodes stretching across the capital. It’s a simple trick – but one that cannily brings these record sleeves to life again, while putting them within the historical context of the city.
“The image on a record cover usually remains within defined borders, instantly recognisable as a record cover, but not so much as a location,” says Bartsch. “Approaching the scene from a wider angle and revealing the cover’s surroundings brought me, and will hopefully bring others, closer to the time and place of the original photo shoot.”
“AllCreative has a simple ambition,” says its founder, AMV BBDO creative chief Paul Brazier, “To reveal every creative job in the form of a short film that will inspire people a step closer to their chosen career. From a young age, I was given the impression that the creative arts were secondary and inferior to an academic career path. Later in life, I realised just how huge the creative industries are and their importance to Britain.”
Two years ago, Montreal-based photographer Chris Forsyth began paying attention to the spaces he travelled through day after day and developed something of “a mild obsession with metros”, seeing in them a kind of beauty that would be lost on most rush-hour commuters.This love affair took him across the world in search of interesting metro networks and stations. “From the hand painted cave-like stations in Stockholm, to the bright, open, and modern platforms of Munich’s U-Bahn”, Forsyth has documented his favourites in this ongoing series.www.chrismforsyth.com
“Zebra crossings, umbrellas and vehicles were so beautiful and strange at the same time and looked as if they had been placed there as part of a grand visual design within the city,” says Mizutani. “The photographs were taken from a high rise with the help of ultra-telephoto zoom lenses. It was difficult to find a perfect location to shoot from. I used Google Maps – finding a right location took as long as the shooting itself.”
Why Not Associatessays it was asked to create a clear, bold visual language for deSingel that would illustrate ‘its dynamic, vibrant and unique qualities’ – and reflect its distinctive architecture.
The identity uses a suite of shapes based on the shape of deSingel’s buildings and features within them such as windows and staircases. Shapes can be used alone, overlaid on imagery or used to crop photographs for posters and leaflets.
The new logo, meanwhile, is based on deSingel’s original mark which was created by typographer Herbert Binneweg in 1979 and appears on the facade of one of its buildings. deSingel had previously been using a different logo, which Why Not was asked to retain, “but looking at the original, we thought ‘it’s really quite nice, why change it?’” says Altmann. Instead, Why Not proposed returning to Binneweg’s simple letterforms, but changing up the colours of letters to create a more vibrant and dynamic look. “It’s a simple idea, but it was quite a break from the brief, which was to stick with the logo they’d been using for the past few years,” adds Altmann.