The words “annual report” conjure up images of grey men in grey suits compiling charts and graphs on grey paper ready to be distributed to grey clients in a decidedly grey world. Pretty darned grey – and I can’t be the only one that thinks this. There must be thousands of offices worldwide churning out these drab documents every year.
International lighting giants Zumtobel have clearly gotten wise to this phobia of tedious corporate documents and decided to buck the trend, commissioning Brighten the Corners and Anish Kapoor (no big deal) to produce a sensationally designed double-volume that utilises no less than ten overlaid neon inks. Take that grey!
In one volume, the meat of the report is discussed – the highs, the lows, the challenges overcome – and in the second we’re treated to an explosion of neon solar flares that leap from the page. We’re at a loss as to how this magnificent volume was printed, suffice to say whoever was responsible knows their Heidelberg inside out. Incredible work from everyone involved. Now let’s just hope more annual reports start to look this good.
- Warriors Studio give us a run-down of the graphic design trends at this year's GDFS
- Graphic design studio Pa-i-ka always purposefully changes its creative output
- Mico Toledo's Velho Chico, illustrated by Sophy Hollington, augments Brazilian folklore
- Mak Kai Hang discusses the typographic differences within Chinese graphic design
- Rhea Dillon explores black existence and politics in her art as a “means of bringing about change”
- Kilian Vilim's film Ooze is a psychological exploration of loneliness through animation
- Cornelius de Bill Baboul's latest project is "like Baudelaire in the age of McDonalds"
- Okuyama Taiki became interested in design while running a free bookshop in Tokyo
- This is an article about Wieden+Kennedy’s clever ad campaign - No B.S
- Combining thoughtful design and big business: an interview with Made Thought
- Courtney Barnett discusses her love for illustrators, animators and her own creativity too
- “The beauty of abstraction”: Christoph Niemann on his new mural for a Berlin train station