Illustration

The Good and Bad Side of Dr. Jekyll & Mr. Hyde

Every year the Indianapolis International Film Festival invites local designers and illustrators to create a poster for select movies, which it uses as a build-up to the festival. The posters are then exhibited at the Indy Film Festival and sold as limited edition prints. Lars Lawson served as designer and illustrator for this “Dr. Jekyll and Mr. Hyde” poster, along with contributing artist Monty Sheldon and Timber Design. Not only did Lawson capture the character’s strange split personality, he managed to draw the typography so that it reads “Dr. Jekyll” from one direction and “Mr. Hyde” when turned upside down.

Illustration

What Are You Looking At?

Leo Burnett ad agency made clever use of negative space to communicate Fiat’s Don’t Text and Drive message. Those who focus on the large alphabet letters often miss the silhouetted image in the negative black space. It’s a matter of perspective and where your attention is centered: On the letter “R” or the girl with a balloon? The “F” or the bus? The “N” or the dog? The subjects in the negative space are hiding in plain sight, but you have to be alert to see them.

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Illustration

Comic Book Depiction of Volkswagen Emergency Brake System

Anyone who has read an action comic book knows what a cataclysmic impact looks like. Splat! Pow! Blam! Swoosh! Clouds of dust, explosive rays, stars. Adam&Eve DDB London worked with illustrator John Rogers to demonstrate how Volkswagen’s City Emergency Brake system can avert disaster by using a comic book illustrative style and visual sound effects. It certainly beats the more realistic approach of showing blood and gore, police cars and the message “don’t let this happen to you.”

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Packaging

Branding of Dripp Coffee

The visual identity system for Southern California-based Dripp Coffee Shop is intriguing for what is fixed and what is flexible. Designed by Turner Duckworth San Francisco and London, the Dripp branding system centers around a hand-drawn script logotype which angles upward. The rest of the visual content is structured within a grid of color blocks with minimal flat-graphic images. The flourished style of the letters sets the logo apart from the rest of the visual content and, by contrast, draws attention to itself. The silhouetted objects themselves can be changed to suit the product, season or event, as long as they retain the stylized look and simplified color palette of the brand – as shown in the set of posters below created by Turner Duckworth. This graphic system also accommodates changing needs and uses, including this sleeveless hot paper cup design by Istanbul-based designer Salih Kucukaga.


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