• 10.17.14   Trevor Bowden Brings Movement to Cadillac

    Stephen Merchant has staked his career on being the awkward tall guy. The comedian’s HBO show, “Hello Ladies,” was built around his extraordinary height and natural eccentricities. So it was a natural step to have him star in Cadillac’s newest advertisement where he misinterprets attention from beautiful women. They’re really gawking at the candy red Cadillac that happens to be driving by, but he is in their eye line and takes the attention personally. The spot was filmed in NYC’s SoHo neighborhood, and the entire cast of 15 was beautified by Trevor Bowden. The commercial is full of movement, and everyone on set was ready to put that energy into every minute of filming. Including the director, Tarsem Signh. “Tarsem had incredible energy. He didn’t stop the whole two days, from running from one place to the other,” Trevor explains. “Everybody was just flying to the seat of their pants and it comes out in the commercial.” Each moment is more energetic than the last, offering as many laughs as looks at Cadillac’s newest ATS Coupe. The movement in the spot is energetic and edited, and Trevor was able to bring that energy into the hair and make up for the actors. The women and men in the commercial are walking that New York walk down NYC streets, and turning heads in swanky restaurants. Trevor’s secret? “Hairspray” he says with a laugh.
  • 10.17.14   Kristin Vicari Takes Your Safety Personally

    Kristin Vicari is known for her bright and energetic photographs. She’s a breeze to work with: relaxed and fun on set. She loves to inject that into all her work; she’s less interested in specific set ups and more focused on getting the right feeling in the shoot. That’s why her latest project with Transport for London was such a departure. But it was important to her. For those who don’t know, London has a system of “Mini Cabs” that can be reserved in advance to be used as a car service. Sometimes drivers claim to be associated with these official services but aren’t actually accredited, and it can be dangerous for the riders. Kristin’s campaign with TfL is to call attention to this problem and attempt to curtail it. A dangerous situation could happen to anyone, so Kristin and TfL had to represent the full breadth of possibilities. “They wanted to convey different types of nights out,” Kristin says. “Not everyone goes out and just drinks.” Using a social media inspired aesthetic, Kristin photographed three sets of women in three different circumstances: one group partying, another seeing a band play, and a third out to dinner. She shot the campaign as though the groups were taking selfies and posting them on their Instagram accounts. “I think the most challenging thing was always being aware that it had to be from the POV of the girl. Like her taking a selfie,” Kristin explains. “The model and I were always connected. She was always holding my hand while I was holding the camera. It wasn’t the easiest of shoots.” What resulted was a natural progression of the evening. The first few images sees the group partaking in their night time activities, and then they head home. The second to last image in each spread has the woman posting a final selfie to say “Goodnight!” But there’s a sixth image. That last image is made to look like it’s being taken by mistake. “It captured the moment when she was being attacked,” Kristin explains. “It was really intense because the girls were crying and screaming because they’re all actors. So they really got into the role of it, of being attacked.” The two models and Kristin were in these tiny cars, acting out these horrible potential situations. But it was for all the right reasons. For Kristin, this campaign was particularly significant because she has a personal connection to the issue. “One of my best friends was attacked in London a few years ago,” Kristin explains. “When I was asked to do the campaign, even though I knew it would not really be my normal thing, I did understand the importance of doing it.” Sometimes a campaign is more than a campaign. Sometimes it can keep people safe.
  • 10.16.14   Found Adds a New Dimension to Growing Up

    Growing up is more than scraped knees and first loves. Growing up is closer and bolder, gentler than juvenile foibles and early stumbles. Growing up happens on the other side of childhood, when the score starts to count. For Hiscox latest campaign, “The House I Grew Up In,” the insurance company wanted to show off the lessons and responsibilities of adulthood in a way that was surprising and compelling, while remaining personally affecting. They chose Found to create an immersive experience that could translate seamlessly into a filmed advertisement. Found spent three months working on an expressively detailed projection mapping motion project that played on a real house in a residential neighborhood. As one can see from their provided Behind the Scenes video, each element in the projection mapping was carefully conceived and animated separately with care tantamount to them each being the subject of the entire project. It was the first time they had worked on projection mapping that was this detailed. “Compared to the stuff we do on big buildings where we kind of go really bold and almost shock, there was a lot more emotion in what we were doing with this,” explains Ian Walker, Producer at Found. “We had to be a lot more intricate with the design and put a lot more detail and more thought in what people were going to feel from it, because it was a completely different purpose from our live projections.” Since the piece was filmed to be played over and over, Found had to make sure that every element came out flawlessly. They didn’t have the forgiveness of a one-time audience. There was a little bit of an audience, in addition to the camera. “We had to do it over and over and over again to make sure we got all the elements and make sure it was right,” explains Ian. “Which meant we were making noise in the night on a residential street during the middle of the week. But everyone seemed pretty happy and they didn’t really complain. It was a logistical challenge.” The logistics, in addition to the many elements in the piece, disappear into it. Since the entire motion element was projected on to a static flat surface, but the camera was moving, there had to be a dynamic presentation of space to keep it looking like it was in the third dimension. As the camera moved the background and foreground had to move at different speeds to create the illusion of the third dimension and sell the effects. “It only looked right from the camera’s point of view,” Ian explains. “That was a massive challenge, getting all those elements to work together. It was such a complex thing.” But it was worth it. “We could have done this with digital visual effects,” Ian says. But there would have been something missing. “There’s a certain integrity and loveliness to actually doing it for real, and I think people probably will sort of connect with that. We wanted to do something that people really connected with and I think you get that with doing stuff for real and not faking it.”
  • 10.14.14   Tiffany Patton Gets Classy with the Boys of Penguin

    For Penguin’s latest season of menswear, they set their lookbook as a gentleman’s weekend in the mountains. (A gentleman’s weekend is like a boy’s weekend with a little extra class.) Penguin has offered their classic looks since the 1950s, and even as they’ve stayed as current as ever, there’s a timelessness to their looks. Something that Tiffany Patton is very familiar with. Tiffany was on hand to groom the gentlemen modeling off Penguin’s looks, and even though the setting was open spaces in the snowy chill of the mountains, she was able to keep it fresh and relaxed. Penguin is no fuss. They’ve always been the brand of the effortlessly sophisticated young man, the responsible youth. Whether it’s a hairstyle that is naturally flawless, or the clean lines of a 6 o’clock shadow, Tiffany was on hand to provide these details and fill in the story that Penguin is telling to their customers. That they can be relaxed, be stylish, be themselves. And it’s just right.
  • 10.14.14   Andrew Rae Shows the Softer Side of Drones

    Since their introduction, drones have changed everything. They’ve made our world smaller and more visible. They’ve revolutionized warfare and intelligence, providing access to corners of the globe that have been overlooked or previously unimpenetrable. Significantly, they’ve changed the way we interact with our enemies, creating a way to survey or attack them in ways that put none of our human forces at risk. This particular shade of change has inspired debate over the dangers of these machines, casting a shadow of unease over the technology as a whole. Drones are precise in their abilities: flying, seeing, and sometimes, killing. But the technology has opened up so much more. Like any technology with severe capabilities, given proper calibration it can make way for advances previously untouched. In New York Magazine’s “Drones and Every Thing After,” Benjamin Wallace-Wells shows off what’s troubling about the technology and the more civil places it has gone since being redefined. Drones are now being used to help track the farming of produce, film weddings, and even perform along with dance troops (in Japan, obviously). They are now consumer products, like toys, almost like pets. New York Magazine needed to bring in that personable element, so they decided to add a delightful illustrated element and grabbed Andrew Rae to help them build some affinity. As Chris Cristiano, from Department of Visuals at New York Magazine, says, “Andrew’s ability to create these fun robots that even have a little bit of personality to each one sort of fit perfectly.” For the eight-page spread, Andrew created dozens of illustrations for the piece in a touching anthropomorphic style. We see drones that are cheerily capturing video, acting as a helipad for pigeons, drumming away on themselves, or serving martinis and tacos. Large machines help to protect and serve, even delivering packages, while a swarm of smaller drones have a stratospheric party. Andrew reminds us that drones are tools to be used by their controllers however they’re needed. So he provided us with some folks at the controls, watching their high-powered toys do the work they were made to do.
  • 10.15.14   Douglas Friedman's Music and Muses

    Music inspires. It guides. Music can be a bowl to carry ideas, and a place to find a muse. It can be an obsession, a love, a way of life. It can be a path. For Mia Moretti, Oh Land, and Judith Hill, music is their path. They each have independently chosen a life of music, letting their love and passion of song and rhythm guide them into their futures. Martha Stewart Weddings Fall Fashion 2014 chose these three women to present over a dozen wedding gowns, all picked and styled through musical inspiration. Whether it was a weighty ball gown for an operatic stage, or a gold beaded sheath dress for a jazz hall, each look was rooted in musical tradition. And Douglas Friedman was behind the lens to capture it all. For three days, Douglas, his team, and these three ladies ran all throughout New York City showing off how different all these looks are. “Every shot was a location. Every shot was a mood. It was a marathon. We sprinted a marathon. It was a lot of fun,” Douglas said. As a team they did the work of transforming each of those moods in the space, using lighting, framing, sets, and the performances of each of the women. “They were real good sports,” Douglas says about the ladies. “They really worked hard to channel something that might not have been familiar to them.” Douglas is known for the meticulous framing and composition in his work. He’ll use every minute necessary ensuring that each element sits precisely in the frame where it needs to. And he won’t begrudge a second of it. But he does need his music. “Always,” he says. Always needs the music. But for this particular shoot, since the inspiration came from music, it was particularly important. “We had a soundtrack at every location we shot,” he says “We’d have the music going that was telling the story that we were telling. It was good for morale for the crew, it was great for the subjects.” There is one little tricky thing when it comes to shooting a dozen bridal gowns for one story: it could get boring. But Douglas and Martha Stewart Weddings presolved this by having Mia Moretti, Oh Land, and Judith Hill be the models for this project. They are real people performing inside the dresses. They’re not mannequins. “The three girls are all personalities, they’re not models,” Douglas explains. “So we didn’t want to kind of be deceitful. It could be repetitive, it could look very repetitive.” Instead, they went the route of authenticity and found the inspiration behind every look.
  • 10.10.14   Michael Warren Travels the Total World

    Light is power. In the west we take it for granted that we can hold the night at bay by flipping a switch. We can remain productive far after the sun sets and do so safely. In countries and communities where there isn’t an electrical grid, when the sun sets the day is over or the gas and oil lamps must be turned on. In places like Africa and Haiti, gas and oil are very expensive and combustion creates dangerous fumes. As soon as the oil has burned off, there is no more, and stores must be refilled again, at great expense. It is a vicious cycle. Total, the French energy company, has set out to combat this cycle with their “Committed to Better Energy” campaign. Michael Warren spent two solid months (plus some) in nine countries in four continents to capture the full breadth of Total’s initiates and get a taste of the company. Total’s response to this energy problem is portable electric lights that run off of solar energy. “In Africa there are a lot of these villages that have no power at all. And they’ve come up with a solar system, that is low cost to purchase and can bring a light bulb, or a bunch of light bulbs, to a village. It really changes the way that they see life and see the day,” says Michael. As he explains it, Total saw the problem this way: “If Total could figure out a way to make a very inexpensive solar panel that they could sell at a low cost, it can have an impact on these people’s lives. And it did.” It’s a way to begin to step out of the cycle of buying and burning expensive, dangerous fuel. In the last decade, international energy companies haven’t been getting the best attention for their practices. So one stands to wonder why Total would go against the current and offer alternatives to their products in communities that represent a small consumer base. The answer is that Total is tied to the global markets and the international community. The company is based in France, and as Michael reminds us, “France has no resources of their own so they have their fingers in all these other places all over the world.” They are responsible to the world, because the world is their partner. “They’re trying to do something good,” Michael says. In addition to shooting the campaign, Michael also spent a month touring the world meeting and learning about Total as a company so he could shoot some recruitment materials for them. These materials aren’t just crucial for the company, their crucial for the future of energy. “It’s getting harder and harder to get young smart students coming out of school to want to work for energy companies. It’s an old school, old industry,” Michael says. “So I was trying to show the world that working for one of these companies is not so bad.”
B&A Instafeed. Images From Our Artists & Community
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  • Great book on Abram Games I bought while visiting the exhibition on his work at the Jewish Museum in Camden - really worth a visit #design #illustration #graphics #graphic #graphicdesign #books #book #abramgames
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  • This morning we will arrive in my mother
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  • #happymondaymorning to all! #dutchdesignweek is full on. We can be found @ #EindhoveninUtrecht. See you!
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  • Just a nice tummy rub time before the bed time.
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  • ๐Ÿ’ฌ
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  • The old Helensburgh railway station was covered in earth until recent years but has been partially uncovered for historical purposes and is one of major historical significance in regards to early rail development in NSW Australia. The old railway line was serviced by steam trains throughout its rather short lifespan.
The tunnels were opened on 3rd October 1888, and closed on 30th May 1915 and if you are willing to get a little muddy, walk far enough in and you will see that the tunnel is covered in glow worms as seen by the pic by @jarradseng (featuring @ameliesatzger)

Chosen by @INK361 Ambassador @twistdee | Tag your Oceanic region photos with #ink361_Oceania
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  • My day in clay production mode. Getting it ready for Harlem Holipop
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  • Fully filled up. Local raw honey ๐Ÿ‘๐Ÿ‘๐Ÿ‘
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  • Gift wrap paper! Getting in the holidays mood ๐Ÿ˜‹๐Ÿ˜‹๐Ÿ˜‹ #giftwrap#giftwrappaper#wrappingpaper#paper#fox#cat#artist#art#holidays#instagram#homedecor#home#life#fun#sunday
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  • Sophie was rather horrified at my #steamers. #clams #lobster
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  • Pumpkin princess @littleoyster
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  • This may be one of my most favorite rooms. #thefacinator
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  • The Sitting Kid

@jefaerosol #newEdition @thebushwickcollective #thesittingkid #jefaerosol #bushwick #brooklyn #ny #streetartphoto #stencilKING #stencilOG #bushwickcollective #2014TheBushwickCollective
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  • @jefaerosol #newEdition @thebushwickcollective #streetartphoto #stencilOG #stencilKING #jefaerosol #bushwick #brooklyn #ny #bushwickstreetart #brooklynstreeart #nystreetart #2014TheBushwickCollective
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  • @georgiahillbth for @vault49 + screenprint love on chalkboard with a dash of oil. Hubba hubba.
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  • Today I met my friend @margoletka_  beautiful baby boy Alexander ... What an #angel ๐Ÿ‘ผ๐Ÿ‘ผ๐Ÿ‘ผ๐Ÿ‘ผso happy for them :)))
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