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The more I work in design, the more I notice the damn stuff everywhere. A few collected comments...
O2's graphic designers have clearly discovered Bryce, and they luurrrrve it. That, or one of their advertising execs thinks Bryce's desert-and-moon landscapes are really, really great. I've been seeing them in game publications for years though, so they end up looking a bit naff to me.
Paddy Power have chutzpah. There was a billboard ad for their casino site a couple of weeks ago, featuring the Last Supper, with the table covered in cards, roulette tables, and so on, with text "There's a place for fun and games". Some either clueless or paid-by-Paddy-Power churchman did a whole lot of protesting and complaining, and the ad got coverage in national newspapers. Eventually, under a storm of protest from various quarters, they retracted the ad - and replaced it with one reading, in big red text on a plain white background, "There's a place for fun and games, and apparently this isn't it.", and a url you can go to to see the ad.
Finally, the power of the window display never fails to amaze me. I had the notion that this season's A-Wear lines (yes, I do in fact notice these things) were much better than usual, and yet looking at the clothes proved that actually, they're no better than usual. This mystified me until I saw the backdrop images in the windows - white and gold baroque rooms. Nothing to do with the clothes, but a direct line to my sense of taste.
O2's graphic designers have clearly discovered Bryce, and they luurrrrve it. That, or one of their advertising execs thinks Bryce's desert-and-moon landscapes are really, really great. I've been seeing them in game publications for years though, so they end up looking a bit naff to me.
Paddy Power have chutzpah. There was a billboard ad for their casino site a couple of weeks ago, featuring the Last Supper, with the table covered in cards, roulette tables, and so on, with text "There's a place for fun and games". Some either clueless or paid-by-Paddy-Power churchman did a whole lot of protesting and complaining, and the ad got coverage in national newspapers. Eventually, under a storm of protest from various quarters, they retracted the ad - and replaced it with one reading, in big red text on a plain white background, "There's a place for fun and games, and apparently this isn't it.", and a url you can go to to see the ad.
Finally, the power of the window display never fails to amaze me. I had the notion that this season's A-Wear lines (yes, I do in fact notice these things) were much better than usual, and yet looking at the clothes proved that actually, they're no better than usual. This mystified me until I saw the backdrop images in the windows - white and gold baroque rooms. Nothing to do with the clothes, but a direct line to my sense of taste.
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From:
Re: A-Wear
Bowe, Nicola Gordon (1993) Art and the national dream: the search for vernacular expression in turn-of-the-century design, Irish Academic Press, Dublin
Other than that, there should be sections or chapters in any decent book on Art Nouveau (like this one (http://www.amazon.co.uk/exec/obidos/ASIN/0719041619/ref=sib_rdr_dp/202-0660447-2552637)), but I'd need to actually get into the college library and check in person to be able to tell in any more detail.
I'm not sure if he's technically Art Nouveau, or just of similar period and ideas, but we have one on Carl Larsson, the Swedish illustrator, that might be relevant?
Faunce, Sarah (1982) Carl Larsson, Holt, Rinehart, and Winston, New York
From:
Re: A-Wear
Scandinavian romanticism?