I’m currently really liking the work of Daniel Eatock , a graphic designer by trade he describes himself on his website –
“Using my background knowledge from working as a graphic designer, I employ a rational, logical and pragmatic approach when making work. I have an ongoing interest to proposing and finding solutions to problems, often problems that cannot be formulated before they have been solved, the shaping of the question is part of the answer. I look for things to fix or improve, working like a tinkerer/inventor, I propose alternatives to existing models, preferring to find ways around doing things properly, bypassing the struggle.”
His most famous for his Channel 4 Big Broth idents and work for Canal+ . But for me its his personal projects that really interest me, there simple outcomes yet convey some quite complex issues, which he writes in his design manifesto as ‘Believe complex ideas can produce simple things‘.
Scarfolk is a town in North West England that did not progress beyond 1979. Instead, the entire decade of the 1970s loops ad infinitum. Here in Scarfolk, pagan rituals blend seamlessly with science; hauntology is a compulsory subject at school, and everyone must be in bed by 8pm because they are perpetually running a slight fever. “Visit Scarfolk today. Our number one priority is keeping rabies at bay.” For more information please reread.
This has to be one of the best examples of re-appropriation of graphic ephemera I’ve ever seen. The work, a side project by the talented mayor of Scarfolk Dr. R. Littler, very cleverly exploits imagery typical of 1970’s Britain which capture dark storytelling and an even darker sense of humour…
The right honourable mayor mentioned in a interview for CR,
Reimagining the 1970s is a very subjective thing, of course – many people think only of flares, disco and the Fonz – but I do think there were some quite outrageous societal attitudes toward race, gender, and children during that decade.
He goes on to say,
When I started creating the images, being funny was not actually the primary objective. Perhaps I was more after an anxious laugh, but not always.
I’ve been trying to recapture a fleeting feeling I had as a child during the 1970s and to find that narrow border between humour and horror, comfort and discomfort. I don’t mind so much which side of the border each post falls as long as there is a bit of both, in whatever ratio. And it’s subjective: it’s inevitable that some won’t see any humour in it at all, just as the references will be alien to some; they’re quite specific.
This is simply great, certainly had me chuckling.
One of the better ads thats come out in recent months, you’ve got to love Patrick Stewart.