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David Emmite Design I/0 Malika Favre karlssonwilker inc. Exhibit
November/December 2017 Twenty-Four Dollars commarts.com
MALIKA FAVRE BY GARRICK WEBSTER
U
nder a high ceiling, Malika Favre is lounging low on the sofa in her studio apartment. Her dark, intelligent eyes survey the sturdy shelves across from her, resting upon a detailed drawing of Battersea power station, a skateboard emblazoned with her colorful graphics and a framed print of the elegant woman-in-hat illustration she did for The New Yorker. On her desk, an iMac sits untouched; at a table to one side, her assistant, Thomas, works on a laptop, running the online shop.
“Actually, I’m on a bit of a break at the moment,” says Favre. But that’s not why she’s on the sofa. On the coffee table wait her MacBook Pro and a bijou graphics tablet. She works from her couch and makes no bones about spending ten hours solidly sketching out ideas for clients like Le Monde, Sephora and Vogue. “I’m working on a couple of editorial pieces,” the French artist explains. “I do mainly magazines and collaborations these days. I have moved away from advertising and branding and have decided to go back to what I did in the beginning, which is editorial. “I just find that the quality of the work is much better, and the briefs are much more interesting. You get more creative freedom, especially the magazines I work with, like The New Yorker. You are sent an article, and that’s it—you don’t get told what to draw or what to do.” From the top floor of a 1920s building in Hackney, in the East End of London, Favre’s confidence is at a peak. The bold, graphic style she has developed over the last fifteen years attracts prestigious projects. When she was invited to design the poster for this year’s Montreux Jazz Festival, held every summer in Switzerland since 1967, she became part of a group that includes Milton Glaser, Andy Warhol and Keith Haring. Her poster is full of female silhouettes dancing, the negative spaces between them forming instruments.
“For The New Yorker’s movie review of A Bigger Splash. My brief’s only constraint was to sum up my take on the movie in a single image: I always get a lot of freedom with The New Yorker. I chose to focus on Dakota Johnson’s striking 1970s look, as she is the central character of the film’s intrigue. Rather than spelling out key elements of the story, I wanted to keep the image evocative and mysterious, so I used the pool as the setting for my image. As a second layer of narrative, I hid silhouettes of the other characters in the pool’s ripples.” Chris Curry, art director; The New Yorker, client. 62
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DIGITAL ADVERTISING 1 Chris Bruney, art director Adam Cook, writer Katie Bero/Brian Culp, associate creative directors Chris Bruney/Adam Cook/Bryan Rheude, Comma Music, creative directors Mel Routhier, group creative director John Maxham, chief creative officer Matt Tremaglio, MPC, compositor Joy Williams, music The Chainsmokers, music composer Comma Music, music company Mark Ruff, Chicago Recording Company, audio mixer Dante Ariola, MJZ, director Laurie Crawley, MJZ, director of photography Fabian Frank, MPC, visual effects artist Jean-Clément Soret, MPC, colorist Natalie Hill, MJZ, line producer Quito Cooksey, MJZ, production designer Barry Gilbert, MPC, producer Camila De Biaggi, MPC/Bonny Dolan, Comma Music/Scott Kemper/ Eriks Krumins, MJZ/Michael Paoletta, Comma Music, executive producers Diane Jackson, chief production officer Jesse Kurnit, MPC, head of production MJZ, production company MPC, post-production company DDB Chicago (Chicago, IL), ad agency State Farm, client “Following” 2:00 “A man is increasingly haunted by causes he cares about. The crowd of causes following him grows until a voiceover states, ‘You can lift the weight of caring by doing,’ and the man decides to volunteer in his community. The spot ends with a call to search for volunteer opportunities on State Farm’s new website.”
2 Mike Donaghey/Chris Jankim, R/GA, creative directors Eric Jannon/Chris Northam, R/GA, group creative directors Dustin Callif/Oliver Fuselier, Tool, managing directors, creative Cut+Run, editorial company Floyd Russ, Tool, director Greg Wilson, Tool, director of photography Elyciphus Siler, Tool, producer Ashlye Vaughan, R/GA, agency producer Nancy Hacohen, Tool, executive producer Tool (Santa Monica, CA), production company R/GA, ad agency Ad Council, client “Fans of Love | Love Has No Labels” 2:41 “Coinciding with Valentine’s Day, ‘Fans of Love’ was launched as an extension of the Love Has No Labels campaign. The public service announcements were filmed live at the National Football League Pro Bowl in Orlando, Florida, putting a twist on the traditional kiss cam by replacing it with all forms of love across different races, religions, genders, sexualities, abilities and ages.”
3 Jesse McMillin/Austin Schumacher/Ricardo Viramontes, creative directors John Kahrs, director Ellen Black/Max Morse/Gennie Rim, producers Broad Reach Pictures/Chromosphere, production companies Lyft (San Francisco, CA), ad agency/client “June” 7:10 “‘June’ is a short animated film inspired by the drivers and passengers who have made Lyft part of their stories. It follows June, an elderly widow, as she deserts her lonely routine to embrace ridesharing and put herself back in the driver’s seat of life, creating a community of her own.” 108
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INTEGRATED CAMPAIGNS 1 (series) Alex Thompson, art director Alanna Watson, writer Hugo Bierschenk/Dean Woodhouse, creative directors John Patroulis/Ari Weiss, chief creative officers Bruno Borges/David Garcia/Anastasia Serdukova, designers Petr Dobiáš, photographer Jim Schwartz, editor Hastings Sound, sound production Jan Svenkjar, director The Mill, colorist/visual effects company Finnian O’Neill, project director Megan Piro/Kendra Salvatore, strategists Meg Volk, producer Kelly Bignell-Asedo/Leigh Ann Dykes/Corinne Porter, agency producers Adam Perloff, executive producer Justin Marciani, project manager Lauren Fertitta/Kate Morrison/Rebecca O’Neill, heads of production Stillking, production company The Slaughterhouse at BBH, post-production company BBH New York (New York, NY), ad agency John Koller/Eric Lachter/Eric Lempel/Sony PlayStation, clients “We ‘gamified’ a single Facebook comments feed, turning it into a real-time mobile response campaign. When gamers commented on Easter eggs hidden in our film, the protagonist—a king—rewarded them with real-life versions of the treasure they found. The results: more than 24 million views, 19,000 comments, 300 direct mail treasures and 345 million media impressions; also, PlayStation 4 became the best-selling console of 2016.”
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FRESH FELIX SOLETIC
Any creative can tell you that the best ideas come from struggle— and no one has quite lived this truth like Felix Soletic, a Los Angeles–based designer who helps create main titles at the multidisciplinary studio Elastic. Born and raised in the city of Zadar, Croatia, by a family of actors, Soletic moved away to study at the Art Center College of Art and Design in Pasadena, flying across the Atlantic with “nothing more than my acceptance letter to the college, a single suitcase and some money in my pocket,” he says. “Dealing with culture shock, language barriers, emotional and financial burdens—all the while attending one of the most intense programs in the world—taught me a lot about myself and the perseverance I had to acclimate myself to in order to get where I wanted to be.” The experience continues to fuel him and his approach to design. “Zadar gave me a temperamental Slavic honesty, and Los Angeles taught me how to channel it into something productive,” he explains. “Being an outsider, I can see my surroundings from a different perspective than others, so I soak up as much of it as I can.” felixsoletic.com
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