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Presented by Stella Artois and the Perfectionists at Wimbledon, Rufus the Hawk takes us through a day in the life of the fiercest member of the tennis tournament’s security team. For years, Wimbledon had been plagued by pesky pigeons. That was, until, Rufus made his home in the stadium. A mutual desire for un-paralleled perfection and beauty brings Stella Artois together with four of the world’s greatest events: Festival de Cannes, Wimbledon, Open Championship, and Abierto Argentino de Polo.

Credits

Production Company: Indy8
Director: James W Griffiths
Producer: Charlie Stanfield
Executive Producer: Rupert Reynolds-MacLean

Agency: Mother, London
Creative Directors: Ana Balarin & Hermeti Balarin
Creatives: Mariano Cassisi, David Colman, Nick Hallbery & Kato
Agency Producer: James Turnham

Audio Post Facility: Factory
Sound Engineer: Jon Clarke

Post Production: Finish
Grading: Paul Harrison
Flame: Steve Murgatroyd

Portrait Of A Serial Winner

BEFORE GETTING TO the alleged mob hit or the mystery of the missing referee, there should be an explanation about how this quest began. An assigned profile of Luis Suarez led to a stack of things to read about his past. via Pocket

Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont) Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.
(via wantthatfont)

Designed in a modernist Swiss style but with a contemporary geometrical twist, F37 Ginger is based on letterforms of German typographer Paul Renner, Swiss typographer Jan Tschichold and American typographer Herb Lubalin. 

F37 Ginger contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.

(via wantthatfont)

vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York vignellicenter:

Vignelli in motion [part II]
The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.
These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 
Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.
American Center in Paris brochures6” x 8 1/4” [folded]Box 77, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York
Sketches of American Center in Paris brochures by Massimo Vignellipencil and crayon on paper3” x 4 1/4” [folded]Box V16, Massimo and Lella Vignelli papersVignelli Center for Design Studies Rochester, New York

vignellicenter:

Vignelli in motion [part II]

The American Center brochures are designed to unfold in a specific sequence, revealing information and images as the reader opens the brochure. Each new unfold presents a new compositional space to which information is applied in an appropriate manner.

These brochures were used by Massimo Vignelli as a teaching tool during our Master Designer Workshop in the past. Students working with Massimo have applied this design to calendars, maps, schedules and poster-sized imagery included in the same printed piece. 

Creating a piece like this takes some careful planning. Each one was sketched by Massimo before creating the final layout. We hope by animating the folding and unfolding, this design puzzle is easier to solve.

American Center in Paris brochures
6” x 8 1/4” [folded]
Box 77, Massimo and Lella Vignelli papers
Vignelli Center for Design Studies 
Rochester, New York

Sketches of American Center in Paris brochures by Massimo Vignelli
pencil and crayon on paper
3” x 4 1/4” [folded]
Box V16, Massimo and Lella Vignelli papers
Vignelli Center for Design Studies 
Rochester, New York