On Nov 14th London’s OXO Tower underwent a transformation to mark the global launch of the PlayStation 4. Down came the iconic windows that found a loop hole in the law (advertising was banned on the Thames to stop it taking over- When permission for the advertisements OXO wanted to have on the tower were refused, the tower was built with four sets of three vertically-aligned windows, each of which “coincidentally” happened to be in the shapes of a circle, a cross and a circle. OOPS)
So PS4 has piggybacked their idea and temporarily replaced the OXO with their logo. This must have cost a FORTUNE to pull off- BUT who ever thought of it had a great idea- twitter is flooded with pictures and it seems after the initial launch its EVERYWHERE…. free (global) media from one experiential event….. it just keeps giving
PERRY to PLAYSTATION….
We took a Sunday jaunt to Manchester City Art Gallery today to take a look at the new Jeremy Dellar exhibition, when as I was marching up the stairs I noticed that Greyson Perrys tapestries are on show from The Vanity of Small Differences. There was a great series on C4 looking into the intricacies and follies of the British class system.
They are based on the eight William Hogarths paintings (one feat above) in the series- A Rake’s Progress (1733), the paintings tell the story of Tom Rakewell, a young man who leaves his working-class roots and follows a path of vice and self-destruction after inheriting a fortune from his miserly father.
You can see the influence of sprawling bodies and decline- however Perrys “hero” is Tim rather than Tom and his progression is slowly upward rather than a downward spiral ending in Bedlam (another series worth watching).
What I love about Parry is he’s not afraid of a challenge- not so much his dressing as a little girl or his alter-ego Claire on a night out in Sunderland, as thats part of the course- but his approach to materials. One moment he is doing an intricate 7ft by 2ft etching Print for a Politician the next embracing the brash and bright world of tapastry. A potter by trade most people have seen his vases and urns with “explicit scenes of sexual perversion” beautifully excited on them. He has an idea and goes for it pulling in reference from all around him- living with the people featured in the tapestries, dressing as them. Empathising with every level while sitting back and not judging. In the series you grew to really like each family from the divides that he skipped through.
At the gallery you get to see his research, sketchbooks and process which are all pretty amazing. He’s a master with a felt tip and fills areas with really interesting patters… making the tapestries slightly look more like crazy rugs. Rugs appear to making a come through in design with M&M Paris indulging in making some along with Colophon Foundry. I keep nattering on recently about not just producing posters, that we seem to spend our lives online browsing not really looking up from the screen and thne try to design through posters…. But now im thinking we should go more traditional. Maybe not rugs-but embrace completely alternative modes of production. The OXO Tower got away with having their ad on the Thames by claiming it was Architecture… and now Playstation has piggybacked them with http://www.digitalspy.co.uk/gaming/news/a531415/londons-oxo-tower-transformed-with-playstation-symbols-pictures.html
So where else can we sneak in with traditional means creating design/ads that people want to keep and actually can relate to rather than glide past. Imagine an ad you could snuggle up on - on a cold eve, or packaging so well made/designed that you want to keep that can last so you refill rather than recycle- giving it a second life (which I have learnt is better for the environment-theres a D&AD packaging brief that questions this)…. Im going off on one… but keep thinking….