Blinkink directors Becky & Joe have produced a charming animated film as part of the Lincoln Motor Company's 'Hello, Again' series of shorts.

The series challenges filmmakers to put a new spin on something familiar, and Becky & Joe took inspiration from the drawn-on film techniques by Norman Mclaren, Len Lye and Man Ray, to come up with their own hands-on interpretation of the bygone process.

Produced in collaborating with New Jersey-based musicians Delicate Steve, the resulting Tallest Heights is an animation made from a combination of ink, paint, bleach and scratching into different film sizes. The final images are high-resolution scans of 16 and 35mm film strips and acetate sheets, and the duo also shot some super 8 footage to experiment with the idea of drawing on top of live action film.

Tallest Heights from The Lincoln Motor Company on Vimeo.

The final piece (above) gives the dusty old technique a welcome new lease of life, with the animation and music nicely complementing each other. As Joe Pelling says in the making-of video (below), "it has to feel quite fun - if it feels dull or tedious, maybe it's time for someone else to take over".

Behind the Scenes: Tallest Heights from The Lincoln Motor Company on Vimeo.

Credits:
Designed and Directed by Becky and Joe
Produced by The Lincoln Motor Company
Animators: Katie Jackson, Matt King, Theo Nunn, Ellie Pritchard and Andrea Vinciguerra

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

Two street stencils on walls in Istanbul

The Occupy Gezi movement started in Istanbul with the aim of preserving one of the very few green areas left in the city and turned into a group of massive, nation-wide anti-government protests. This has ignited a flurry of creative production which has resulted in a variety of posters, banners and street art...

This post was originally published on the V&A Museum's Posters blog. Our thanks to V&A curator Catherine Flood and Yaman Kayabali for permission to repost it here.

The protests that started with the Occupy movement in Istanbul have since spread to other Turkish cities such as the capital Ankara and Turkey's third largest city, Izmir.

Twitter was officially labeled as a "troublemaker" by the Turkish Prime Minister Erdogan after the start of the protests as it was instrumental in distributing information for the protestors in a time when the traditional media practiced self-censorship.

The Twitter bird wearing a gas mask is displayed in a stencil along with the most famous hashtag of the Gezi protests, #occupygezi (shown, above left). The gas mask, which has now become an everyday object for the Turkish protestors, is a reference to the enormous amount of teargas used by the police.

On the other hand, the stencil of a defiant penguin who also wears a gas mask (above right) symbolises the media corruption in Turkey. Penguins are now associated with the self-censorship of the mainstream Turkish media after CNN Turk, a major news channel, broadcast a documentary on penguins while the civil protests and police violence were at their peak – instead of covering what was happening on the streets.

Digital poster depicting a protester throwing a tear gas canister. The text reads 'Mr Officer You Dropped Something'

Turkish police have been harshly criticized by the protestors due to the use of an unprecedented amount of tear gas, as well as the police violence witnessed during the protests.

Yet, among the images that are circulated in the social media which support the protestors and criticise the government or the police, humour dominates. The text in the digital poster above reads 'Mr. Officer You Dropped Something' – it is written on a blurred photo in which an activist is throwing back an active tear gas canister back at the riot police.

Two posters featuring portraits of the Turkish Prime Minister

The street art shown, above left, plays with the image of Sex Pistols' iconic album cover by inserting the portrait of the Turkish Prime Minister in place of the Queen's.

The word 'Queen' is changed to 'Sultan', a reference to the absolute monarchs of the Ottoman Empire, the ruling state of Turkey before the modern Republic. It is also a testament of the international legacy of punk and its relevance today in the midst of public rebellion.

The digital poster shown, above right, uses Prime Minister Erdogan's portait by the photographer Platon in the background and displays the phrase 'Keep Calm And Be Capulcu'. The Prime Minister had used the word "capulcu" – which means looter – to describe the activists after the protests grew in magnitude on May 31.

The word capulcu was quickly adopted by the protestors who started to define themselves as such. This has a humorous irony because the protestors did not see themselves as looters, since the dominant majority of them were well-educated urban middle class people who abstained from looting and other acts of vandalism.

The images above are also reflective of globalism today, since they refer to international icons to convey their messages.

As the Gezi protests developed, artists, designers and other creatives quickly responded to the photographs circulating on social media. Some of these images now enjoy an iconic status since they have been used over and over in different media.

A woman in red being sprayed with pepper spray in Gezi Park and a street stencil reproducing the image

The image of a policeman blowing pepper spray on a woman in a red dress (above left), rapidly became the most recognised symbol of the protests and was transposed to the city walls, streets and roads with stencils.

The girl in red in the stencil image (above right) is considerably larger than the policeman – symbolising the growth of the resistance as the police violence got rougher.

A whirling dervish wearing a gas mask while performing in Gezi Park and a street stencil reproducing the image and the phrase 'Come along!'

The image of a whirling dervish with a gas mask (above), who performed in the occupied Gezi Park was also taken up by street artists.

The phrase 'Come along!' was added in the stencil. 'Come along' is a reference to a poem by Jalal al-Din Rumi, whose followers had founded the Order of the Whirling Dervishes. The poem was written in the 13th century and it still makes a very powerful and moving statement in the context of the Occupy Gezi movement:

Come, come, whoever you are, come again. / Whether heathen, zoroastrian or idolatrous, come again, / Ours is not a caravan of despair, / Come again, even if you have broken your vow a hundred times.

A girl in Istanbul being hit by a water cannon

Another image which rose to prominence during the protests was the girl who stood in front of a police water cannon opening her arms, exposing her torso (above).

Her image became a symbol of non-violent resistance against police force and is displayed on a variety of printed or digital posters about the protests.

Below are two digital posters created to be used in the social media. The phrase written as a hashtag in the posters – 'Diren Gezi Parki' – means 'Gezi Park Resist' and this has become one of the favourite hashtags of the Occupy Gezi movement.

Two posters depicting the iconic image of a girl hit by a water cannon

The colourful yet simple graphic design below, which states the demands of the protestors, reflects the youthful energy of the activists.

The design is clean – each demand is symbolised by a single visual, with distinct background colours. The specific words of each demand are also emphasised by an increase in font size of certain words. This helps to convey the message clearly by avoiding a wall of text.

Graphic listing the Taksim Square demands

Considering that these images, which are only a handful among many, are a result of the past 15 days (since the protests began), there is going to be a lot more as the protests and the occupy movement continue.

Whatever the outcome of these events, it is certain that the artists, designers and activists have responded rapidly, with a highly creative and humorous body of works to the Occupy Gezi movement. It will definitely have a rich visual legacy for future generations.

Yaman Kayabali is a postgraduate student in the Art History and Museum Curating program of the University of Sussex. Prior to his studies at Sussex, he worked as a project coordinator in an exhibition design company in Istanbul. His area of interest is the relationship between art and politics. He is currently researching on the effects of political ideology on the early republican architecture in the new capital of modern Turkey with a comparative perspective of Turkey's Western European counterparts. Yaman is currently an intern in the Research Department at the V&A.

This post was originally published on the V&A Museum's Posters blog, here. It is reproduced with permission.

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

Motion studio Found has collaborated with film director Richard Curtis to create a striking film for grassroots advocacy organisation ONE, charting the history of popular music and protest in a visually arresting mixed-media collage.

Part art installation, part documentary, it combines a range of media including music, speech, video, animation and motion graphics to recall some of the most potent quotes, speeches and individuals from protest movements of the past century - from Civil Rights, Apartheid and Occupy to the current urgent issue of extreme poverty.

Aimed to grab the attention of a younger demographic and get them involved at One.org, the film was launched at a live music event on London's Southbank last weekend, on the eve of the G8 summit. The 30-minute film (see below) was projected onto the Tate Modern following performances by music artists such as Tinie Tempah, Jessie J and KT Tunstall.

agit8 - From Protest to Progress from Meagan Bond on Vimeo.

The final version, agit8: Protest = Progress, recalls speeches by Nelson Mandela, Martin Luther King and Dwight D Eisenhower, among others, as well as well known protest songs, such as Marlene Dietrich's rendition of Where Have All the Flowers Gone? and Billie Holiday's Strange Fruit, all set to a combination of archive images and original graphics and illustration.

Found had six weeks to turn the project around, investing a lot of time researching video footage and audio, with the help of Curtis and ONE. "Four of those weeks were spent with Excel Spreadsheets and YouTube writing things down," says Mike Sharpe, creative director of Found. "We knew that we would deal with a whole bunch of mixed media, and there was a lot of research to be done to find out which ones to pick. We watched over 30 hours of footage and had archivists working around the clock in the UK and the US sourcing obscure footage."

Around 15 minutes of footage were spliced together, with hundreds of tracks whittled down to just over 50, for the final piece.

Mixing up the graphic and illustration styles was vital, says Sharpe. "To keep the attention of the viewer [when projecting] on the side of the building you need to have a variety of looks up your sleeve rather than just one look. That's what we realised at the beginning when I did the original design."

Above: artwork of the Strange Fruit segment of From Protest to Progress, by Sweet Crude

Artwork by Found for the Apartheid section of the Tate Modern projection of agit8: Protest=Progress

Above and below: Two stills from Sweet Crude's interpretation of an Eisenhower quote from 1953

Illustration by Ian Wright to accompany Martin Luther King's 'I Have a Dream' speech

The visuals were created in-house at Found with additional contributions from Sweet Crude, Ian Wright and Olive Johnson who illustrated Dietrich's song (see below).

Securing the rights to - as well as the necessary quality of - material was the biggest production challenge. For example, the audio of Mandela's speech at the Rivonia trial was of such poor quality, that the team transcribed it and used it performed by Chiwetel Ejiofor.

Above: artwork for Sweet Crude's interpretation of Mandela's Rivonia trial speech

The film is part of the wider agit8 campaign, a call to action to end extreme poverty. On the agit8 website visitors can support the campaign, and performers - from high profile musicians to buskers - can add their own protest songs.

For those who missed the live performance, the film will also be shown during the summer at various festivals, and will continue to support the campaign online - and it is definitely worth catching up with. As Sharpe concludes, "Every now and then a job comes along that you just can't turn down and this was one of those occasions..."

Credits:
Global Creative Director, ONE Campaign: Roxane Philson
Writer and Executive Producer: Richard Curtis
Production Company: FOUND
Creative Director: Mike Sharpe
Producer: Sue Dhaliwal
Art Director: Ben Collier-Marsh
Associate Producer: Hannah Cameron
Animators: Christopher Shone, Tom Langton, Jonathan May
Editor: Mike Prior
Sound Design: Ade Pressly
Projection Consultant/Producer: Sam Pattinson
Music Consultant: Toby Slade-Baker
Contributors: Ian Wright, Sweet Crude (Fraser Davidson, Simon Tibbs and Dina Makanji), Olive Johnson

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

Despite an unnerving site that greets the unwary visitor, this year's Chelsea College of Art and Design graphics show is one of the strongest around

Photograph by Sarah Cresswell

It's somewhat unnerving, not to say unpleasant, to walk into a gallery and be confronted by a giant photograph of yourself (above). A few months ago, I was approached by Chelsea student Charlie Patterson who was working on a project named Creative Club. Inspired by the merit badges awarded to girl guides and scouts who have mastered a particular skill, Charlie had decided to do something similar for the design community. At that point he was still in the research stage, using his research blog to document similar ideas that had been tried before and searching for a way to make his project unique.

Yan Elliott & Luke Williamson, Directors of Fabula wearing their Creative Club shirts

The finished work is now on display at the Chelsea show: a series of badges awarded to design studios, publications and ad agencies in recognition of certain qualities Patterson believes they possess. All the badges were made by Patterson himself on a sewing machine bought specifically for the purpose. He then sewed the badges onto a shirt for each recipient and photographed them in their offices wearing it. My shirt has badges for editing and having 'print at heart'.

Paul West of Form

Everything is documented in a newsprint publication produced via Newspaper Club.

Not only is it a really well-produced and witty project, it has also proved to be a very useful one as the project has opened a lot of doors for Patterson and resulted in several offers of paid placements.

Next to the Creative Club project was another by Patterson - a collaboration with fellow Chelsea student Jasper Van den Bosch.

Patterson and Van den Bosch won the South Bank Centre's 2012 BOOST programme which backs young designers with mentoring support to bring their project to fruition. Their idea was Vector Designs, CMY, range of bike accessories. Inspired by old-school delivery bikes which often had a panel with the company name fitted in the space within the frame, the pair created a modern-day graphic equivalent. The range is now being sold in the South Bank Centre shop.

Van den Bosch also showed abeautifully-produced catalogue for fashion brand Volklore

Along with another Chelsea student, Jonny Holmes, Van den Bosch has also been working as a design assistant on Hole & Corner, a new magazine which celebrates craft skills

Holmes himself has one of the standout pieces in the show - Sign of the Times, a huge 'reverse glass sign' recalling the traditional self-promotional pieces made by signwriters and which doubles as his CV.

Photographs: David Ryle

Holmes made the sign at The Brilliant Sign Co in Buckinghamshire. It features two typefaces which he created himself - read all about the research and process involved on Holmes' dedeicated tumblr here.

Also impressive was the craft, of a very different kind, employed in Genevieve de Rohan Willner's Puma Black Label project, instigated by Neighbour Design. The brief was to create new branding and an advertising campaign to promote and raise awareness of the range. De Rohan Willner used CAD to create a 3D black puma used as the key image in the project (a life-size model was on display at the show).

Photography: Dan Sakal. CAD Technician: Andrew Sutherland

I also really enjoyed Emily Crook's House of Billiam work - a new identity, style guide and jacket for the fashion brand

And Sophie Rotter's identity for record label Hakisac

There was also some finely crafted type from Joseph Egan.

Dauphin Romain is a serif revival based on the original engravings of Romain du Roi, supposedly the first typeface created using a grid system

Egan also created a contemporary sister face, Dauphin Moderne

And there ws some really interesting image-making allied to strong type in Francois Douady's serie of theatre posters

These are just a few highlights of what was a really strong show. Details here

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

New gallery GRAD in London stands for Gallery for Russian Arts and Design, and in keeping with its aim of presenting this art from a refreshingly new angle, its inaugural exhibition presents a fascinating insight into Soviet Union propaganda.

The exhibition of posters, magazines and textile designs is jointly curated by GRAD and Irina Nikiforova, chief of the department of European and American Art 19-20th Century at the Pushkin State Museum of Fine Arts in Moscow. It shows the external proganda by the Soviet Union aimed at selling an attractive vision of the USSR to the tourists of western Europe and America in the late 1920s and 30s.

A series of posters, commissioned in the 1930s by Intourist (the organisation responsible for foreign tourism in the Soviet Union), enticed the West with stunning visions of the country, advertising such pursuits as hunting and adventurous car journeys. See USSR brings some of them together for the first time after extensive research into the relatively short time-span of this particular approach to propaganda.

"Through Intourist's posters you really see this country that never existed," says curator and director of the gallery Elena Sudakova. "They used this European language, this very glamorous language. They are trying to attract European and American tourists, by means of the language that was familiar to them."

Intourist poster by Aleksandr Zhitomirsky, 1939

When the organisation was established in 1929 it had no idea how to advertise travel to the Soviet Union, adds Sudakova. It first used a more avant garde design language that was familiar in Europe at the time, with the influence of Aleksandr Rodchenko and El Lissitzky very much in evidence in the early artwork.

Early Intourist poster by Aleksandr Froloff, c 1930

However, the approach changed quickly, as the organisation's artists adopted the art deco style that was used to advertise European destinations, drawing on European travel posters and other graphics for inspiration. "It's interesting to look at them, because sometimes you can't tell whether it's the French Riviera or the Soviet Union," adds Sudakova. "Although there are clues of course."

Poster by Maria Nesterova-Berzina, 1930s

In 1931 Intourist launched a poster competition, which encouraged emerging artists to submit poster designs. Among them were Maria Nesterova-Berzina, Nikolay Zhukov and Aleksandr Zhitomrisky, and the See USSR exhibition brings them together for the first time under the term 'Intourist artist'.

Nikolay Zhukov's Caucasus poster, 1936

The Crimea by Sergey Sakharov, 1935

USSR poster by Nikolay Zhukov and Viktor Klimashin, 1935

Highlighting the Soviet Union's cultural prowess was another key element of Intourist posters and its publications 'Soviet Travel' and 'Soviet Land', promoting the country as the land of culture through its festivals of dance and music.

The Leningrad Festival of Music poster by Joseph Šebek, 1934

Issues of Soviet Travel and Soviet Land

The propaganda also included travel guides, maps and badges

The external propaganda contrasted sharply with the imagery of the inward propaganda, a point highlighted within the exhibition. In contrast to the images of a Soviet land of leisure, elegance and glamour, these designs draw on imagery of miliary might, flight, the union of peoples and industrialisation, as exemplified in the below textile designs.

The Soviet Aircraft Industry, 1927, artist unknown

The Second Congress of the Textile Workers, 1930s, artist unknown

The art deco inspired posters of enticement were relatively short-lived, as towards the end of the 1930s depictions of the Soviet Union shifted towards the expressions of architectural and political grandeur more readily associated with the union. But, as Sudakova points out of the period explored in the exhibition, "neither of the propaganda, external or internal told the whole story - neither of them reflect any kind of reality".

See USSR runs until August 31 at GRAD, 3-4a Little Portland Street, London W1W. GRAD also commissioned artist and model-maker Henry Milner to reconstruct the eponymous See USSR poster, designed by Nikolay Zhukov in 1930, which is on sale as a limited edition print (see image at the top of the page for Milner's artwork).

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

Screenprinted pub sign by Jamie Marsh (see below)

Studio three&me were privileged to be invited to the private view of University Campus Suffolk's graphic design degree show, where we witnessed a feast of illustrative treats and strong collaborative projects from around 15 students...

Being UCS graduates ourselves we jumped at the chance of photographing some of the best works from across the show. Here's what we found.

One of the first projects that caught our eye was this well presented branding for Hideous Sounds by Lewis Tucker. The branding for a dubstep record label uses a flat geometric logo with a contemporary colour palette set alongside... well, hideous photography!

It's not quite Movember yet! However, Ben Theobald's branding and packaging design for a Heritage Barbershop puts the Mo' at the forefront. The Heritage Barbershop identity has a traditional feel with a quirky edge that would certainly set it apart from many of the other grooming products we've seen.

Urban Forest is a graphic identity for an indoor forest in London. Chris Pullen's strong typographic identity, paired with effective photography and clean layout really helps to sell his idea. With a guide map in hand you can be sure to explore the urban forest of the great indoors!

Now, we loved Egle Vainauskait's illustrative style – which her branding for Trend, blending coffee and fashion, makes great use of. The identity itself is clean and works through a number of products, all of which have been carefully considered from the packaging right through to the cup and saucer.

We found some right little gems inside the covers of Jade Redford's portfolio. We took a particular likening to her illustrations for a children's Story Day. Jade wanted to "make a day where children were encouraged to be creative and make their own stories, especially through drawing". These cute illustrations are extremely well executed and have an all-round appeal.

The sound of a new brewery is music to our ears and with the name Gambrinus – the mythical "King of Beer" – how could you go wrong? Jamie Marsh's collection of illustrated beer mats tell the story of Gambrinus, the narrative enhances the brand and shows great attention to detail. We were very impressed with his screen printed pub sign (shown top of post); a nice touch.

We really liked Rachel Milner's work for the concept behind her project, Twelve. It's a charity based scheme selling high-end fashion products, with each month's profits going to a different charity.

And as if that wasn't enough – as part of a BA (Hons) Graphic Design module each of the student's also took part in the Turner Classic Movies project which involves designing posters that a film season. With an internship at TCM up for grabs we were sure to see some impressive work here.

Firstly, we would like to introduce to you the work of Sarah Haskins with her poster for Moulin Rouge as part of the TCM Obsession Season. Whilst flicking through her portfolio we could certainly see that Sarah had a distinctive hand-drawn style that she makes good use of in this beautiful poster.

We also admired the poster by Joe Littleworth for The King and 4 Queens as part of the TCM Gambling Season. We enjoyed the simplicity of the illustration and the incorporation of the TCM logo as a design element rather than as a foot note.

And finally, the Turner Prize Award and internship went to Hannah Campbell and her poster for The Wicked Lady as part of Bad Girls Season – and deservedly so. Her clever idea of incorporating the female gender symbol into the barrel of the gun is simple and to the point, while the feel of the poster is fitting for film noir genre.

Needless to say we have picked our favourites here. There was a range of other great stuff we didn't have time to pull together for this post. And if you didn't manage to make it along, there will also be a showing at the Coningsby Gallery in London from 11-14 November (weekdays: 10:30 - 18:00).

James Tye is managing director at three&me.

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

Uncle Grey Denmark has turned the common fly poster into a musical instrument to promote a new mobile app by headphone brand Urban Ears.

The interactive poster – launched to promote DJ mixing app Slussen – is made of 3mm thick vinyl engraved with ridges that emit a sound like scratching a record when scratched with a fingernail.

The combination of ridge patterns means different parts of the poster make different sounds, allowing users to make their own mixes using proper DJ techniques - as this video on the making of it explains (below).

Uncle Grey placed hundreds of the posters around Copenhagen last month. Most have since been stolen by light-fingered vinyl lovers and they've proved so popular that the agency is considering selling them.

“They were going to be a one-off but we've had a lot of requests from people asking where they can buy them, so we're thinking about putting more into production,” says Jon Goldtsche Jørgensen, a senior art director at Uncle Grey who worked on the project.

CR blog readers might remember that last month, Trapped in Suburbia also released an interactive poster that emits sounds like a musical instrument when touched. Uncle Grey's audio experiment was designed to target a young audience that is used to seeing gig and album launch posters plastered around their city.

“The fly poster is a pretty good medium for promoting music but we wanted to reinvent it and transfer the interactivity of the app onto traditional analogue media,” says  Goldtsche Jørgensen. “A lot of them have been stolen but that's great for an urban brand - it means people like them enough to go to the trouble of taking them,” he adds.

As part of Slussen's launch campaign, Uncle Grey also installed the posters and a microphone at a university in Copenhagen, allowing students to test their mixing and beat boxing skills after lectures.

The high-pitched sounds of scratch vinyl may not be music to everyone's ears but but following its success in Copenhagen, Uncle Grey is considering launching the poster in other cities and at festivals. "There are no definite plans yet, but we're working on it," says  Goldtsche Jørgensen.

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.

CR for the iPad

Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.

Bristol's PAN Studio, winners of the first Playable City Award, are set to awaken the city's urban landscape by enabling its residents to interact with a variety of public objects and street furniture...

The aim of the Playable City Award is to commission art projects based on the brief of turning cities into playable spaces.

The inaugural £30,000 award was given to Ben Barker and Sam Hill from PAN Studio who, in collaboration with Gyorgyi Galik and Tom Armitage, have been developing the Hello Lamp Post project at the Watershed arts venue in Bristol.

Launching on July 15, participants will need to visit hellolamppost.co.uk to access a special local phone number. They can then explore the city to find codes on any item of street furniture – lamp posts, post boxes, bins, bus stops, bollards and phone boxes (these are normally used to identity the objects when they are in need of repair).

Every post box, for example, has a unique 6-7 digit code written underneath the collection time.

These unique codes will then enable players to spark up a text message conversation with the particular object. The more people the objects interact with, the more they will have to say – adding to what the organisers call "the city's conversation".

Users must send their first text to the number provided in the format "Hello" + name of object + #codeofobject (for example "Hello lamp post #123456") and wait for a reply.

Hello Lamp Post begins on July 15 in Bristol. More details at hellolamppost.co.uk.

Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.

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