This art installation at Dulles International Airport displays messages related to peace from Buddhism, Christianity, Hinduism, Islam, and Sikhism. LED lights within the seven-foot-tall block form the words in a ticker-tape-like stream. It’s a thought-provoking island of tranquility within one of the nation’s busiest international airports.
The Mexican studio Y&R was tasked with developing a series of public service announcements about child abuse for the Spanish organization ANAR. The problem they faced: how do you reach out to abused children without alerting the adult abuser as well? Their solution seamlessly integrates two messages into one poster, each tailored to the intended viewer.
Lenticular printing is not a new technology; it’s been used in an array of products to simulate motion, depth, or animation. What is striking about this campaign piece is the conceptual use of the technology. From the adult’s perspective the child in the ad appears unharmed, juxtaposted with a simple message, “A veces el maltrato infantile solo es visible para el niño que lo sufre” (At times child abuse is only visible to the child receiving the abuse.) This double entendre reinforces one concept and serves as a subtle warning for aggressors. From the child’s point of view an altered photo and message are revealed; the same child is depicted showing signs of abuse with the message “Si alguien te hace daño llámanos y te ayudanermos” (If someone is hurting you call us and we’ll help). Watch the following video for an explanation of how this is done.
Powerful imagery and a highly flexible template provide a framework for a wide range of materials we designed for Johns Hopkins’ new capital campaign, “Rising to the Challenge.” Shown are a foil embossed pocket folder, the overall case statement, case statements that are specific to each school and division, and one-page insert sheets. Many of these items are designed for print-on-demand so that gift officers can order the right number of brochures with their own contact information printed on them.
Photographer Charlie Crane’s book, Welcome to Pyongyang, contains a series of stunning large format photos of one of the world’s most secretive countries. Visitors to North Korea are accompanied at all times by state-assigned guides who escort you on carefully planned tours. How can you create under such tight restrictions? Crane’s solution is straightforward: “If there is no possibility of getting underneath the surface then the answer is to photograph the surface itself.” Even though the state has carefully controlled what outsiders can see, these remarkable images speak for themselves about life in the Hermit Kingdom.
Late in 2012, the New York Times published a multi-media story called Snow Fall, The Avalanche at Tunnel Creek. If you have not yet seen/read the story, we are happy to introduce it to you here. Snow Fall is a ground-breaking moment in multimedia journalism, one of the first articles to illustrate the dynamic possibilities that occur when new media are thoughtfully integrated with the written word. As you scroll through the story, stunning animated graphics, slideshows, and video interviews add clarity to the unfolding drama. My favorite graphic is the vertigo-inducing flyover of the Cascade Mountains with ranges and ridges graphically delineated. What is particularly exciting is that the visuals enhance the story rather than overwhelm it. In fact, the story runs for a whopping 10,000 words, which is well over the copy count of most magazine articles.
I predict that Snow Fall will mark a change in the way we do multimedia storytelling. The possibilities are as vast as the northwestern mountains.