Even standing up close, Beijing-artist Li Hongbo’s sculpture of Michelangelo’s David looks like it is made out of marble or porcelain, but when it is gently pulled up, the bust stretches out beyond recognition, and when released, springs back to its original shape like a Slinky toy. The raw material that Li Hongbo uses for his sculptures is paper, thousands and thousands of sheets of paper. His average classical busts require gluing more than 5,000 sheets of paper together in a honeycomb pattern, using pressure to hold the sheets together. From there, he saws, cuts and shapes the huge block of glued paper to arrive at a rough sculpted form. Li Hongbo then shaves in the finer details and uses sandpaper to smooth the surface.
Wine packaging is steeped in tradition and sometimes unfounded biases, and connoisseurs are quick to form opinions about the quality of wine inside by the bottle’s shape, color and design. The cork versus screw cap debate, for instance, has been going on for well over a decade. So, it will be interesting to note the wine-drinking market’s response to Paperboy, packaged in a bottle made entirely from compressed recycled paper. UK packaging producer GreenBottle teamed with California wine producer Truett-Hurst to unveil the world’s first paper wine bottle. It is being sold in Safeway supermarkets on the West Coast now, with plans to offer it across the U.S. soon. London/NY-based agency Stranger & Stranger designed the Paperboy label graphics, which were printed with natural inks.
GreenBottle reports that the paper bottle, with a liquid-tight insulated plastic bladder inside, has a carbon footprint that is one third of an equivalent glass bottle. The bottle is feather-light, weighing about an ounce when empty, thus reducing shipping, handling and energy consumption costs. Despite its lightweight, Paperboy bottles are said to be rigid and strong, and ice bucket safe for three hours. Sounds good. Now let’s see if wine snobs can get past the fact that they’re drinking a brand sold in a paper bottle.
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.
New technologies go through a number of phases as they progress from “drawing board” idea to prototype to public awareness, assessment of possibilities, learning and experimentation, to practical applications. Augmented reality (AR) seems to be in the late experimentation phase, although some very practical commercial uses are being introduced. Here two Swiss AR experts Martin Kovacovsky and Marius Hugli demonstrate the possibilities of AR by bringing the pages of “The Strange Case of Dr. Jekyll and Mr. Hyde” to life. The images printed on the paper leap into action on the screen when a camera (in the lamp) is focused on a page. Suddenly, traditional print becomes a multimedia vehicle, and the boundaries between analog and digital content all but disappear.
IKEA is redefining retail catalogs by making theirs come alive. On July 31, the Swedish ready-to-assemble home furnishings giant will begin sending their 2013 edition, so keep your smartphone handy. Interspersed throughout the catalog are augmented reality codes that you can access by downloading a free IKEA catalog app onto your Android or iPhone. Look for the smartphone icons on the page and hold your phone about eight inches above the image to activate the digital layer.
Created by McCann agency with Metaio technology, the app-friendly catalog takes you beyond the printed page and launches interactive content – three-dimensional products, video stories about the product designers, an x-ray look behind a cabinet door, etc. It’s a digital magazine and shopping advisor that piggybacks on paper. For IKEA, the largest portion of their marketing budget goes toward the catalog, of which they print 211 million copies translated into some 20 languages. Enabling access to digital content is like expanding the number of pages without adding pages. Unlike websites where you have to find a way to make consumers visit your site first, the printed catalog puts the marketing piece in the consumers’ hands and then encourages them to linger longer, read deeper and return to the catalog repeatedly to discover what else is there.
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