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Et tu BI-LO?

One of the first big identity projects I worked on back in the day was a re-branding for BI-LO supermarkets back when I was working at Woodhead Firth Lee (now simply Woodhead). I was pretty fresh out of University, working there on a freelance basis, so it was an exciting opportunity to re-establish what had been a reasonably well known local supermarket chain into a national franchise.

Their identity, such as it was at the time, consisted of the word BI-LO set in whatever chunky sans-serif the signwriter had (or could paint I guess) stretched and condensed to fill whatever sign dimensions as needed. BI-LO were a discount supermarket chain, the emphasis being on cheap here and at the very least it certainly demonstrated that in the face it showed the public. If it was going to branch out into other states and compete on a national level, it certainly was going to need some sort of re-branding.

It was something that were loathe to change in any dramatic sense, this look had served them for the last 20 years or so and had seen them through some success in South Australia, the bean counters were obviously thinking, why bother? The firm I was working for, Woodhead, were primarily Architects and Interior Designers, the graphics department had come into being as a natural progression to provide a more value added service to their clients – the BI-LO account I’m sure was won on the basis that Woodhead had the capabilities to design and furbish a big roll out of stores around the nation. The groceries buying public was becoming some what more canny in their preferences, though they still wanted cheap groceries, they also didn’t want to wade through uncomfortable surroundings to do their weekly shopping, the stores needed to be able to compete immediately with the multitude of supermarket chains in the other states.

I’m not sure the mark itself was even part of the initial consideration for the furbish, it was obvious when the project got underway, that some consistency would need to be established with the mark to tie in with consistency on the store interior designs. Also, if there was ever going to be a time to look and establish the stores identity mark, this would be it.

The first think we did was to establish a consistent look to the mark. This was set in a Helvetica Black, tweaked in places so the logo looked more unified, and also prevented third party contractors from the urge to simply setting the ‘logo’ in type and stretch and condense it, rather that using the actual mark. The main change was to change the normal hyphen into a downward pointing triangle, to denote ‘low prices’ directly in the mark and to also give it some uniqueness and personality. Truth be told, note many people notice this until it’s actually pointed out, but then again, most people aren’t seriously studying corporate logos in too much detail, how may people notice the joined together ‘m’s’ in The Commonwealth bank mark, or the arrow in the FedEx logo? For such a small change, I remember at the time it caused a bit of controversy, BI-LO had become part of the Coles Myer group and had significant asian backing, apparently in some asian cultures the symbol of the triangle pointing downwards signifies loss of fortune!

It did eventually all get through though, the mark became the basis for a whole range of identity items. I was pretty happy to have an identity I worked on rolled out on a national scale. Today, BI-LO is one of the nations best known ‘discount’ supermarket brands, but not for long. BI-LO has been incorporated into the Larger Coles chain and the mark is gradually being replaced by the eponymous Coles tick mark.

So it’s with some melancholy I see it go, I’ll miss pointing out signs where they haven’t followed the design guidelines (such as placing the word ‘supermarket’ into the yellow banding box!) and being able to point out to people easily something that I have designed. It’s inevitable of course, as designers, nearly everything we work on has a limited lifespan, the BI-LO isn’t completely gone as I see they are still going to use it on some instore items – I’ll miss seeing those big yellow and red signs though!

Judging albums by their cover

Beck: The Information

Beck has always been an advocate for the use of strong, clever visual solutions for his music releases, apparently growing up, he used to pick up albums based on their cover art as well 🙂 His latest release ‘The Information’ takes it up another notch. This clever little package design contains a set of stickers that allows you to customise your own cover. Art directed by uber album design specialists Big Active, over 20 image-makers were involved in the creation of the sticker sets. It’s a fun idea to ‘value add’ the physical CD in this day and age of easily down-loadable music – the listener becomes an active participant in the album experience. So the CD package is cool, but while I was in London I managed to pick up the 7-inch vinyl single of ‘Cell Phone’s Dead’ (the revival of the vinyl single in Europe is another story) that also contains it’s own set of stickers, along with a larger cover ‘canvas’ to display them on. I imagine out there somewhere you can also purchase a 12-inch full vinyl album. So while this is all pretty clever, I imagine it’s the sort of thing that will only effectively work once, it opens up a lot of ideas and possibilities for value adding CD packages in the future though. One of the first things I thought of when I got the Beck CD was that it was a pity that the stickers, once stuck down, are so permanent, wouldn’t it be cool if they were like those old ‘colour-form’ kits from my childhood (I had GI-Joe and Evel Knievel sets!)that let you take off and re-place the stickers over and over. How about a set of rub-down ‘letraset’ images or a cover that works like a magna-doodle set? It’s highly likely that the future of physical CDs lies in different areas of thought like this. There’s a contest online for the best ‘Information’ covers put together by listeners here, oh, and the actual music on the album is pretty good too! Go out to your record shop and buy a copy.

Interview with Value & Service

So I went for a trip overseas a little while back (which I may have mentioned once or twice on here:) Anyway, I figured while I was over where ever I found myself, why not see if I could drop in and see a few designers whose work I admired? Easier said than done of course, many were asked, a few replied and some even said I could come and see them. London was particularly tough (maybe I shouldn’t have said I was Australian?) A few replied and very politely said they would be too busy or not in the studio when I would be there. Luckily one of the studios that I did really want to visit said yes, that being Value & Service. Value & Sevice was established by Directors Sean Murphy and Hazel Rattigan in late 2002. I know the term ‘thinking outside the box’ gets thrown around a lot, especially in design circles, but I had been really impressed by just how different the studios work was to just about everything else out there. They really take a considered approach to the use of materials and unique solutions to their projects in a real world setting, not just a design for design sake environment. I wasn’t really sure what to expect when I visited their studio is Shoreditch, what I found was a very down to earth group of designers pushing the boundaries of their profession but still dealing with the day to day challenges of running a professional studio. I spoke to director Sean Murphy.

Chris Bowden: What first inspired you to get into Graphic Design?

Sean Murphy: Believe it or not, there’s a program you might have heard of, a soap opera called Eastenders, there was a character in it called Colin who was a graphic designer and I quite liked the sound of the job, the term ‘graphic designer’ sounded quite interesting, I always wanted to be a TV camera man before I wanted to be a designer, so I wanted to be a graphic designer before I really knew what it was. I was always quite good at art and liked drawing. Rather than doing A-Levels which is what most people in the UK do, I went straight into a Btec in graphic design.

CB: From there you went onto further study at a University?

SM:I went from there to Central St Martins and that’s where I met Hazel, we worked together quite a bit at university, I left and Hazel went on to do an MA, I started working at North which is where I met our neighbours upstairs in Bibliotheque. I then went back to university to do my own MA as well, and about three and a half years ago, Hazel and I set up Value & Service.

CB: Your folio contains quite a bit of work for artists, galleries and arts organisations, was this a conscious effort on your part to work in that area?

SM: It’s not something we planned really and it’s probably something we’re trying to change a little bit, we’ve got that so well covered now, and it’s not an area that generally pays very well! So we want to change what we’re doing in some ways, we still enjoy that kind of work, of course, it depends and what you’re doing at any given time. We’ve just finished a book for an artist named Trevor Appleson, and in fact, we’re just about to start another one for him.

CB: Do you think that sort of work offers you a lot of freedom or do you feel restricted by working under the particular aesthetics of the artist?

SM: In some ways it’s actually more restrictive than more ‘corporate’ work in a weird sort of way. It depends who the client is though, we’ve worked with a curator called Tom Morton quite a bit, and he’s really good, he understands what we do and allows us to get on with it, he values it, he’s not one to stick his oar in in a sense. It’s a two way thing, the work always comes out of our conversation with him, rather than him dictating or us dictating. That’s a nice working relationship, when we first set up Value & Service, he got us to do some work on a one day art show he curated and he then went onto setup a one year temporary gallery and we were involved with that. He then went onto be the curator at a gallery called ‘Cubitt’ and he’s brought us along with him. We’ve been quite lucky in who we’ve worked with, because they’ve all been quite open to our input, they’ve not had that idea that they tell you what to do and you just do it.

CB: I guess the good thing about working in London is the amount of fine art related enterprises there are.

SM: There’s a multitude of galleries and artists, there’s always something going on in that area, like the Freize Art Fair which is quite a big deal, because we’ve done some work in that world, we’re beginning to understand that just about everyone wants work for free or at least to pay very little for it.

CB: Of all the projects you’ve worked on, do any stand out as being particularly memorable or enjoyable to work on?

SM: It changes all the time. Sometimes you’re really happy with something and other days you look at the same piece of work and see the faults in it. There’s a couple of things that I really like because of their simplicity, they tend to be some of the older stuff. We did a window for Selfridges that I think is very us. There was no brief essentially, the concept was a window display based on window displays. We photographed different things around London, bits form McDonalds, dry cleaners, just anything really that caught our interest. We then recreated it, mostly in vinyl and we used suckers and things you would find in windows. The project came about through Creative Review magazine, we were chosen as one of the design firms featured in their ‘Creative Futures’ annual feature. That year as part of it you got given a window to design. Another project that stands out is one we did again for Tom Morton. It was an invitation to a one day art show, it was a quick idea, we cut up copies of Vogue magazine and took the pages that were purely advertising on both sides and used that as our base and just laser printed information on top of them. It’s probably the lowest budget job we’ve ever produced, it cost about 30 quid to do, and it’s one of our favourites. Things like an identity we did for a one year temporary gallery, a set of business cards on a tear off pad, there’s just something about the feel of it we quite like. We were probably a bit more free with our design when we first started out, now we’ve got overheads to worry about!

CB: With those concerns, how do you keep yourself motivated and inspired?

SM: Depression?! It’s hard to pinpoint anything exactly, mainly just by observing the things around you.

CB: Do you draw any inspiration from any of the artists you work with?

SM: I don’t feel like the work that we do is directly influenced by any of the artists we have worked with. I think it’s more from things like our collection of old books, lots of typographic oddities and such. We find inspiration everywhere, not particularly in one place, we might find it by looking at someones photographic work or what not. Sometimes it’s a good idea to look backwards!

CB: You’ve mentioned that you’re looking to broaden your work outside of the arts, what sort of work would you like to do?

SM: More art direction. We feel there’s a bit more scope to do interesting things working with other people to create imagery, it’s the sort of work we enjoy doing. At the moment we feel as though we’ve been getting work that just needs to be ‘put together’.

CB: Would you have an ideal client you would like to work for?

SM: Comme des Garçons would be pretty ideal for us. Someone who does very interesting stuff that doesn’t just follow the conventional route.

CB: There’s a lot more opportunities to do that sort of work in London and Europe as a whole I guess?

SM: There’s a hell of a lot of designers here as well though and each year design companies sub-divide and designers split off and start their own firms, plus a plethora of students leaving university who are really good, there’s a lot of competition.

CB: What do you know about Australian Graphic Design?

I’ve seen bits. I’m not good with names, so I couldn’t name anyone in particular, but I’ve seen a few magazines that have come out of Sydney that have been quite interesting. There seems to be stuff going on in Australia now whereas you would never see anything, but now you do see quite a bit in magazines or whatever, mags like Grafik or Creative Review, you see Australian designers have submitted work. I think there’s some nice work coming out but I couldn’t tell you who did it though!

Thanks to both Sean and Hazel for sparing the time to talk to me and show me their studios and work. All the pieces discussed in the interview can be seen on the Value & Service. website, a nice piece of work in itself, along with the rest of their portfolio.

Designers Who Are Better Than Me

In case you’ve been thinking I’ve given up on looking at the local design scence, what with me swanning around world, think again as I delve into the creative cauldron of Adelaide to pick out another fine design studio to bring to your attention. Detour. are a design firm I’ve been meaning to present here for a while, I thought they actually didn’t have a website, in fact they’ve probably had one for a while, while I was looking for the company name followed by a .com.au, they were there all along hiding under a .net.au! Detour have been in business for what must be going on for 14 or so years now, which is a lifetime in the competitive design market of Adelaide. The studio is run by Catherine Bell and Abra Remphrey, Abra is of course, married to Parrallax head honcho Matt Remphrey – with that sort of design influence, their daughter is going to turn out to be the next Sagmeister or perhaps she’ll be overwhelmed by all that designy-ness in her life and opt for a career in something more lucrative like real estate or blogging. Anyways, the Detour site has an interesting and easy to navigate interface made up of a grid of coloured boxes that you click on to reveal the studios work. Some nice work there is too, highlights being some great labels for Hazyblur and Oldfellows wineries, The Banksia Pallative Care Annual report and a really beautiful and appropriate package design for Lanapelle wool rugs for infants. Detour are a part of the pack of Adelaide design firms that stormed into the Australian Graphic Design Awards this year to pick some well deserved gongs, so spend some time and take a look.

London Design Museum

So when In London, taking in the sights, where is the obvious first thing a designer should visit? Being a designer and all I figured a visit to the Design Museum might be in order, asking my partner Caroline if she would like to attend she replied that she would rather force matchsticks under her fingernails, so taking that hint, I set off on my own to this shrine of design. For a museum of design, I’ve got to say that the facade was pretty uninspiring, at least the locale is pretty, right besides the Thames in view of The Tower Bridge. It cost 7 quid to get in, which kind of put me off purchasing anything in their gift shop, as impressive as it was – I had my eye on a design museum t-shirt until I saw that they were 40 quid, which is, I don’t know, about a thousand dollars or something in Australian dollars:)

One of the special displays that had on was a show on Formula One Grand Prix, not really my area of interest I’ve got to say, though they did have a car on display that I had as part of my Scalectrix model set when I was younger. At this point I was probably more interested in how that had set up their exhibits, graphics wise, rather than studying the intricacies of an exploded view of a McLaren F1 engine.

The main display area was dedicated to a sort of history of UK graphic design (though a pretty condensed version admittedly). I’m not sure whether this is on permanent display or not (is there anything on permanent display here? There were some beautiful WW2 deco inspired propaganda posters. This sort of illustration seems to be a lost sort of style these days, more is the pity. Best of all, there was a (small) display dedicated to Peter Saville’s Factory Records work, including the original ‘floppy disk’ inspired sleeve for the ‘Blue Monday’ single which I’ve seen in books plenty of times but never in the flesh as it were. There was also a nice display of old penguin book covers, Penguin seems to be quite the flavour of the month as far the design blogospehere, maybe it’s due to the book that was release on Peguin book design a little while back, it’s good stuff, One Plus One Equals Three has a link to a Flickr photoset if I have at all piqued your interest.

The museum was filled with bored looking school students plodding through displays, filling out obligatory class set assignments, occasionally a teacher would tell one of them that they had spent enough time on the ‘playstation’ display and they would plod off bleary eyed into another nook of the gallery. That’s about it as far as what is in the museum, ok I guess but hardly worth the £7 entry fee, pity I wasn’t there a month or so later to check out the Alan Fletcher exhibition.

Being in the vicinity, and a little disappointed with the Design Museum, I figured I’d take the half hour stroll down to the Tate Modern. Caroline had expressed a slight interest, but was fearing that she would be forced to view, as she put it ‘blank canvases with a pile of pebbles underneath it’ which to me sounds like the most fantastic idea for ‘fine art’ I’ve heard in a long time which I intend toimplementt and enter in the Turners as soon as possible. Anyway, it was a nice day for a stroll (for a change) and the view along the Thames on the way can’ be beat. The walk took me past Shakespeare’s Globe Theatre, a replica that is built kind of pretty close to where the original was built. Did you know that Shakespeare’s first Theatre was called the Curtain and was built on the other side of the Thames. When the landlord wanted the land back, he took it apart and rebuilt it across the way.

The Tate is going through a lot of renovation work at the moment, which means it’s looking kind of crappy. The great entrance hall space was being transformed into the biggest and loopiest slippery dip of my dreams that I had ever seen, even though it was still under construction, don’t think I didn’t ask if I could take a slide down that baby – denied! It is art after all. Once again, the exhibit graphics are excellent, I really like the entrance wall to the 1945-1960 artists section, decorated with artists signature on a black background, really striking. The good thing about the Tate is that entry is a donation,(so free then for me 🙂 the bad thing about the Tate is that it was full of more bored school kids with an even greater area of boredom to trod through (and no playstations!) The thing you find about London is that they really hate you taking photographs, especially if there is a buck to be made from preventing you from doing so. In most civilized places in the world they put up signs that say ‘No photography’ if they don’t want you to take photographs, in London they just prefer to hire people to yell at you. So I’m in a gallery with some of the worlds greatest modern art on display, a good place to take a couple of snaps you say? Apparently the fear is that you will go in, take photos of that Rothko on the wall, run it out onto a canvas, claim it as your own and sell it. I can see how they have to be careful and once again I’m sure it has nothing to do with the prints for sale in gift shop. So I’m in there happily snapping away, actually at this point, more interested in how they had applied information graphics to the walls than the actual works of art. I was getting the look from people around me, that look like I had just strangled their kitten or something, had | stepped in something, maybe a piece of avante garde art inadvertently? From out of nowhere comes a screaming banshee of a woman, for awhile I thought it was aperformancee piece of some sort, but then I realised she was with the gallery. ‘No photography, no photography! She wailed like a pair of cats fighting on a tin roof – now I was on display at the Tate – the school kids certainly took more interest in it than the nearby Bacon (Francis, not in the cafeteria). London always brings the worst out in me temper wise, I’m usually pretty relaxed, but there’s a way that normal people handle things like this, they politely tell you there’s no photography allowed, you apologise and you’re on your way, then there’s the London way of being as rude as possible and drawing the most attention to yourself. I told her this in not so many worlds after she had finished screaming in my face – I may have added that dental hygiene was now a cheap and readily available commodity as well. I guess that’s probably what led to me being goose stepped out of there by a couple of security guards soon afterwards, hence the rather light on review of the Tate, but by all means, if you’re in the area, take a look, it’s free after all 🙂

Album Cover Gallery

I’ve had some recent requests to see some of my album cover art, so I’ve set ap a Flickr gallery of some (admittedly not so recent) album covers I have done over the years – they are mainly just examples I actually had jpegs handy of! Maybe someday I’ll get off my arse and set up a proper website with some up to date work! Chris’ not so up-to-date album art gallery.

I Am Blue

I’m beginning to really dislike reflex blue. To me, nothing says boring, conservative, unimaginative, unyielding corporate business than the particular shade of 100% cyan and 100% magenta (give or take a few percentile). And yet we see it used everywhere, I’m sure businesses think it denotes class and reliability – maybe they just feel more comfortable following the herd. It’s the fall-back colour for the indecisive, the unadventurous and those who can’t be bothered exploring alternatives. Even grey or black are preferable to me, and yet it feels like 70% of the jobs I work on – reflex blue is the dominant colour. If the fact that it’s everywhere isn’t enough, it’s also a bastard to print. Print a big expanse of reflex blue and don’t seal it with anything, come back in three years time and run your fingers over it, you’ll still get ink rubbing off onto them, it’s a bastard to dry. No two jobs printed in reflex blue ever feel like they match when placed together, don’t get me started on roller marks. So in response to the great sorrow that reflex blue brings to my life and as a means of trying to exorcise that demon, I have written the following haiku:

‘Reflex blue tell me why
Your cobalt hue makes me cry
Not again I sigh’

Reflex blue, if you can help it, just don’t do it. Pantone blue is beginning to get up my nose as well….

Art & Design

I friend of mine who I do a lot of album cover design for, has been for years trying to convince me to mount an ‘art exhibition’ of some of the work I’ve been doing for him, it particular, a style of painterly – photo-montage that I’ve used on a couple of his covers. I haven’t been all that keen on the idea, for one, I don’t like to think I dwell on style too much, but in my mind I feel as if this particular one I employed was starting to becoming a crutch that I knew I could employ perhaps because I was lacking in a decent concept. It has gotten me thinking more about the relationship between art and design. By using this ‘style’ was I in fact crossing over into art? Is this what people generally think of as an artist, someone expressing themselves through a single recognisable style?

I’ve never looked upon myself as an artist as such, trying to convince myself that I’m a halfway decent designer through the years has been hard enough. I would pretty much equate calling myself an artist with about as much respect as I would consider calling myself a wanker. I cringe when someone introduces me to themselves as such, as a title, I feel as though it is something that needs to be bestowed upon the recipient, earned rather than freely used as your job title.

To me,the word design implies something that has been created through pre-planning and pre-thought to reach a pre-determined outcome (a lot of ‘pre’s’ there!) Art on the other hand seems to be something a lot harder for me to define, rather than generalise, it’s perhaps something best left to the individual to come to their own conclusions. I do think though, that is a term that is used much too often to categorise creative endeavors. I think good ‘art’ should carry a unique message or emotion, not needing to attach itself to any pre-determined expectations or doctrines. It’s something that can convey a multitude of thoughts and feelings, the artist, free from a particular expected outcome can create whatever they want without having to explain why they have produced what they have. The only client they have is their own self-fulfillment. They key words I think are ‘individual’ and unique’.

Design as such seems some what at opposites with that definition, in a strictly commercial and traditional sense. The designer is often taught to submerge their stylistic individuality in service of the design, to produce something that serves the needs of the client, not the fulfillment of the designers creative expression. I’m not sure too many designer’s get into the field to solely work to service the client. Design is a way of legitalimising our creative pursuits – “look Mum & Dad, I can make a living out of ‘expressing myself”. That’s putting it pretty simplistically, but each of us likes to feel that we have a little bit of ‘the artist’ in us – most of the time it’s a struggle to incorporate a little of that and at the same time, solve the clients needs.

The main problem I have with what is loosely incorporated and titled as ‘art’ is that most of it is simply a throwback to what has been done before. It’s not falling into the category of ‘individual’ or ‘unique’. You often hear artists as ‘working in the style of…’ or ‘from the school of…. In that case, the artist is realistically just following and feeding popular trends rather than following an individual or unique vision. In that case you may be a painter or a sculptor or whatever medium you choose to work in, but it doesn’t make you an artist. Design on the other hand tends to draw inspiration from what has come before, trends and styles are common, swiss style, modernism, grunge, minimalism – commercialism dictates the course the designer takes to a large extent in fulfilling the clients brief.

W shouldn’t be ashamed to look upon ourselves as designers and not artists. We all want to think we are producing creative work that is worthwhile, we’re often looking for the next big trend to incorporate into our work, to make us stand out, to be well on top of it before it’s overwhelmed into the mass media. Perhaps the key lies in looking into the heart of what really makes something ‘art’ – to use that example and to be strong enough to follow our unique passions and emotions to look beyond what is trendy, to stray from the rules and create our own ‘art’ and bring some of that back into our day to day design work.

Designers Who Are Better Than Me

It’s not often that I pick myself up out of that fortress of indifference I call my daily life to really care all that much about the state of the general majority of local graphic design (at least not in the days before I started this blog!) Sometimes something will hit close to home, it may be that I have to look at every day, maybe someone I know who can do better designed it, maybe I designed it! Sometimes it’s just for something that is close to my heart. Case in point, The 2005 marketing material for The Adelaide Symphony Orchestra – it may be the 2004 stuff – I don’t want to unnecessarily vilify someone for producing totally adequate design that I’ve just gotten the years wrong, I’ve tried to exorcise it out of my mind to be honest – you’ll know what one I mean because it was horrible. For the past few previous seasons the promotional material had been consistently bland, The ASO went through some personnel issues and to be fair, some serious funding issues which I’m sure left their mark, but the stuff looked like no one gave a damn. And really, what more incentive do you need to produce beautiful design than doing work for a symphony orchestra? There’s just so much scope there, it’s my dream assignment. It looks like they got the high school work experience kid to knock it out ten minutes before the end of the day.

So come 2006, I wasn’t expecting much from the ASO in regards to their season’s promotional material, was I in for a shock. The 2006 design was some of the most beautiful I’ve seen for a local arts organisation. Obviously someone had gotten them back on track by employing the capable lads at Voice Design. Voice have been quietly plugging away for over ten years now, with some very unique and inspiring designs in their portfolio, including the work for the ASO, Rio Coffee, SA Great and Beresford Wines, to name a few. Persistence seems to have paid off for them, as their work is becoming a more common sight in design journals and competitions, including an in book award at the 2006 UK D&AD awards. Their book ‘Type it Write’ has become an essential reference guide around many a local and not so local design studio.

For Sydney-siders, Voice are currently part of the Powerhouse Museum’s ‘Design 06 – Cutting Edge Australian Graphic Design’ exhibition for the benefit of all you eastern states gurus who I know flock to this blog.

Recent Surfing Highlights 9

If you get to the point where you think you’ve got all your Ipod needs covered, perhaps you need this.

Too much Peter Saville is never enough.

Bugs Bunny under the spotlight, deconstructing an animation icon.

A fantastic design blog, that highlights found type, print and packaging.

I was a wee bit too old when Transformers they first hit the seen back in the 1980s, but I have to admit this trailer for the upcoming film has got me excited, especially the tranformery typography at the end.

And speaking of typography, is there nothing it can’t do? You’ll never think of taking a shower the same way again after seeing this.