Old Mout Moutopia

Nothing here was re-illustrated for print. The islands were re-lit and re-framed inside the same CGI build as the film, so the cider you see on a poster is the cider that moved on screen.

Landscape carries the whole range, so the map reads as a country. Portrait drops to a single flavour, so the bottle still holds at pavement distance.

A billboard is looked at twice: once from across the platform, once from a metre away while the train is late. The first look sells the flavour. The second has to reward the wait.

So every island was populated. Windows cut into pineapples, a hut on stilts, sunbathers on a slice of mango, a couple photographing each other by the passionfruit. Detail nobody is obliged to notice, at a resolution that survives being printed six metres wide.

The six-sheets carry St Luke’s headlines, so the artwork had to leave them room. Bottle and serve hold the centre, the island drops to a plinth beneath, and the sky stays open at the top for the line to arc across it.

Shown here as the delivered print files, before the headline layer goes on.

Each flavour was also delivered as a cut-out lock-up: bottle, serve and island on transparency, ready to drop onto whatever the brand needs next.

That is what turns one build into a year of assets. These three files became posters, digital screens, retail and social without going back to render.