Working with design agency The Monkeys, Giles helped to conceptualize an ad campaign for Australian wine maker, Penfolds.  To illuminate the beautiful characteristics of each plant used in the companies most popular wines, “Penfolds Bin Series: Descendants of Grange,” Giles created bespoke glass tendrils that mimic each grape’s vine.  The glass tendrils were then filled with the wine they represent, acting as a signature for their respective bottle and Bin Number.

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In column titled “A Thousand Words” for Port Magazine, Giles opens up about the concepts that surround some of his recent work:

This image is taken from a series of four (so far), and each contains a sequence of 15  images exploring and documenting the evolution of a colour pallet. They’re made using inks in water, distributed in various ways by currents. The series is a progression from a very clean, precise graphic work documenting pallet I made immediately before this. I’m still developing the work. For me, heading down to Covent Garden for the early shift to pick flowers, to the bacon butty in the cafe all adds to the experience of creating the image.

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Last year, Conde Nast Traveler commissioned Giles Revell to illustrate a story about scents and perfumes in Oman that is on news stands now.  The photographs were captured in his personal studio in London and offer a glimpse of the traditional garb and traditions of the region. Included below are some of the images and a link to the story.

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San Francisco-based agency Emotive Brand reached out to Giles Revell to create images for their client, Ryder.  The images of leaves below were concepted specifically for use in Ryder’s Annual Corporate Sustainability Report.  To illustrate the idea of systems and networks, Giles metaphorically references the complex vascular system visible in images of the back lit foliage.

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This week, The Times Magazine: Eureka, commissioned Giles Revell to create representations of the pressure felt by the human body while free diving.  Reaching depths of over 500 feet on a single breath, free divers delve unassisted beneath an ocean’s weight that is compressing every part of them.  In the images below, Giles creates these invisible forces through vibrant pigments, viscous mediums, and underwater photography, depicting both the allure and uncertainty of the sport.

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For a story on the hacker/activist group Anonymous in Wired Magazine, Giles created a 3d rendering of their most notable emblem, the Guy Fawkes mask. In the video below, which appeared only in the magazine’s digital edition, Giles builds the form by layering vertical strips, digitally constructing the mask as it spins.

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Giles Revell recently shot a series of fish for Port Magazine.  The new men’s magazine wanted to show the beauty of these creatures, which are all common to the United Kingdom.

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To help get in the mood for the upcoming Summer Olympics, check out Giles’ new work for British Gymnastics.  Working with London-based branding agency Bear and collaborating with 3D artist Ben Koppel, Giles helped to created a new identity for British Gymnastics. The video below is inspired by his past work with motion tracking of a dancer. The logo was done with the help of typographer and logo specialist Rob Clarke.

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This month Giles was featured in Audubon Magazine regarding his leaf photos. A portion of the text is below but Click Here to read more.

“There’s something so satisfying about crunching through fallen leaves, hearing them crackle as they’re pulverized underfoot. Yet next time you see a carpet of leaves, or even a smattering of just a few, take a look before leaping: You might spy one of nature’s ephemeral art displays—a decaying leaf, like this one, photographed by Giles Revell.

“He wasn’t far from his house when Revell discovered several of these botanical skeletons and decided to shoot a series. Ghosts of their former selves, the leaves “almost look manmade when they’re in hand,” he says. “They’re like organic wire meshes.” From their unpredictable folds and fine, labyrinthine veins, familiar forms emerge—landscapes, coastlines, rivers. Simply put, the leaves are “lovely things,” says Revell.”

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Giles Revell was awarded “Best in Book” by Creative Review’s Photography Annual in their new motion category for his Art Revealed ad. “Revell filmed the entire sequence in a two-and-a-half-foot square water tank, which was set up at modelmaking and special effects company Asylum in London. Describing the process, Revell says, “We tested for a week together. We were lookng for the right materials, inks and pigments that don’t mix so much with water.” The shoot itself took place over the course of a day, during which around ten takes were made, some of which were up to twenty minutes long.”

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