Found this interesting video about the latest use for QR Codes on headstones in cemeteries. The QR Codes link to a page (similar to a Facebook page) about the deceased person, thus creating ‘living headstones’. Is this the future of memorialisation, or is social media for the deceased just taking it one step too far?
Archive for August, 2011
Recently Lachlan, a keen high school student from Adelaide joined the WhiteRhino team for a week of work experience. Lachlan’s passion is street art and graffiti, so we sent him out into the hidden laneways of Melbourne and this is what he discovered – see some of Melbourne’s finest street art shown through the eyes of Lachlan.
Top Left: Woman, by Sofles – Croft Alley. Top Right: Portrait, by Linz – Croft Alley. Below Left: Unknown – Hosier Lane. Below Right: Unknown – Hosier Lane.
Towards the end of the State of Design festival, Jeremy and I wandered into the city for some lunchtime inspiration.
The exhibition we chose to view was ‘MIFF60: The Graphic Art of the Melbourne International Film Festival’. Whilst a very small exhibition, it was a comprehensive array of design collateral across the 60 years that MIFF has been running. What made this exhibition unique was seeing all these items as a collection, given that they were designed by different designers, studios and agencies over the years.
In the beginning, each year appeared to be a separate entity with a different design treatment each year. With the 1990s and 2000s came a marked difference with a more definite brand identity being developed and rolled out and a greater emphasis on sponsor logo inclusion. This also coincided with a change in the early 2000s when MIFF began using advertising agencies – the programmes became more magazine-like and began to heavily utilise imagery from the films rather than simply developing a branded graphic treatment.
Seeing designs from the 1950s, 60s, 70s and 80s gave an insight into the very different design trends of those era. As the State of Design website put it:
“… from the flat geometric designs of the Saul Bass inspired 1960s, through the psychedelic excursions of the 70s and the neo-pop surrealism of the 80s.”
It was very interesting to see how the brand and collateral has evolved over time and the varying approaches used by the different designers. Seeing a complete collection such as this was fascinating, not just in terms of the MIFF brand, but also in terms of the changing trends evident in design.