Jeff Desom pieces together a killer looping installation of the Hitchcock masterpiece, Rear Window. Check out a timelapse of the composite.
Showing posts with label concept. Show all posts
Showing posts with label concept. Show all posts
Wednesday, April 11, 2012
Rear Window Timelapse MUST SEE!
Rear Window Timelapse:
Jeff Desom pieces together a killer looping installation of the Hitchcock masterpiece, Rear Window. Check out a timelapse of the composite.
Jeff Desom pieces together a killer looping installation of the Hitchcock masterpiece, Rear Window. Check out a timelapse of the composite.
Monday, March 12, 2012
Andrew Thomas Huang: Solipsist
Andrew Thomas Huang: Solipsist:
SOLIPSIST from Andrew Huang on Vimeo.
You loved the trailer. Now you can enjoy it online in full. Winner at Slamdance 2012 of the Special Jury Prize for Experimental Short, Solipsist by Andrew Thomas Huang. For more about the film and balancing personal projects with commercial work, listen to his interview over at Directors Notes.
Hat tip to Short of the Week and Yves Geleyn.
Wednesday, January 18, 2012
Friday, December 16, 2011
Small (Mad) Worlds (Surreal!)
Small (Mad) Worlds:re-blog from Polkadot
Dystopian universes, middle-class nightmares and surreal architecture: German photographer Frank Kunert portrays a satire of contemporary society through his intricate, flawlessly detailed miniature models. He actually creates 3D model subjects out of deco boards, plasticine and paint and then he photographs them, with his impeccable attention to detail.
Frank Kunert’s photographs were part of NYC exhibit at the Museum of Art and Design, named “Otherworldly: Optical Delusions and Small Realities” (June 7 – September 18, 2011).
Dystopian universes, middle-class nightmares and surreal architecture: German photographer Frank Kunert portrays a satire of contemporary society through his intricate, flawlessly detailed miniature models. He actually creates 3D model subjects out of deco boards, plasticine and paint and then he photographs them, with his impeccable attention to detail.
Frank Kunert’s photographs were part of NYC exhibit at the Museum of Art and Design, named “Otherworldly: Optical Delusions and Small Realities” (June 7 – September 18, 2011).
Tuesday, October 25, 2011
Pixels Mixed with Paper Sculpture: Amon Tobin-Inspired Audiovisual Projection
Pixels Mixed with Paper Sculpture: Amon Tobin-Inspired Audiovisual Projection:re-blog from Create Digital Motion
In a spectacular, sculptural work, forms built from paper become organic backdrops for undulating pixels in an audiovisual work by Daniel Schwarz. I like that he describes this as partially “non-mapped.” That is, if projection mapping is the use of software to create calculated virtual geometries on which to project, you can also just point a beamer at something that isn’t flat and see what happens. The appeal of projection mapping is to me really about getting away from flat rectangles – not that there’s anything wrong with them, but because it expands the canvas on which digital projection can work. Sometimes, you want perfectly-tuned mappings, but sometimes you actually want distortion and imperfection. It’d be a shame to lose sight of the latter just because of the novelty (and now ease) of the former.
What makes this work beautiful to me is the transformation of imaginative forms in space. Daniel describes the work:
Hey, thank you! (Curious to see more results of that project.) And here’s another case where you might still want to keep those SLRs around, not just the fancy new iPhone. (I’m also glad I don’t have to deal with mobile carriers to buy cameras.)
In a spectacular, sculptural work, forms built from paper become organic backdrops for undulating pixels in an audiovisual work by Daniel Schwarz. I like that he describes this as partially “non-mapped.” That is, if projection mapping is the use of software to create calculated virtual geometries on which to project, you can also just point a beamer at something that isn’t flat and see what happens. The appeal of projection mapping is to me really about getting away from flat rectangles – not that there’s anything wrong with them, but because it expands the canvas on which digital projection can work. Sometimes, you want perfectly-tuned mappings, but sometimes you actually want distortion and imperfection. It’d be a shame to lose sight of the latter just because of the novelty (and now ease) of the former.
What makes this work beautiful to me is the transformation of imaginative forms in space. Daniel describes the work:
I used mapped and non-mapped audio-reactive projections on paper sculptures and filmed it with a [Canon] 5d mark II. It’s kind of a journey through a dystopic landscape to the music of Amon Tobin.
Programming was all done in vvvv, editing in Final Cut Pro 7.
I also want so say a big thank you, because i basically made this video thanks to your blog post concerning the Amon Tobin Fan Video
Project.
Hey, thank you! (Curious to see more results of that project.) And here’s another case where you might still want to keep those SLRs around, not just the fancy new iPhone. (I’m also glad I don’t have to deal with mobile carriers to buy cameras.)
Tuesday, September 13, 2011
Moto Undone by Joey Ruiter
Moto Undone by Joey Ruiter:re-blog from The Coolist
Aside from their functional elements, the allure of a motorcycle is largely in its appearance. Designer JRuiter has crafted an electric motorcycle that takes that entirely out of the equation, by “ignoring what makes motorcycles interesting”. Moto Undone by Joey Ruiter may not look like your standard motorbike, but it [...]
Aside from their functional elements, the allure of a motorcycle is largely in its appearance. Designer JRuiter has crafted an electric motorcycle that takes that entirely out of the equation, by “ignoring what makes motorcycles interesting”. Moto Undone by Joey Ruiter may not look like your standard motorbike, but it [...]
Monday, May 2, 2011
Interactive Display Window Concept | Hyper Island
Interactive Display Window Concept | Hyper Island:re-blog from Computerlove
Interactive Window Concept made for the module Advanced Interface Design
at Hyper Island hosted by North Kingdom.
[This video is now 'debranded' due to the fact that the company don't want to be associated with it]
Client: WeSC – North Kingdom’s brief (Daniel Ilic)
At: Hyper
Island
Role: Research, Idea Generation, Concept, Design and
Production.
Who: Lucas Lima, Gustaf Engström, Marcus Wallander, Juliana
Silva and Bea Areilza.
Concept: Worldwide Conspiracy
Coach: Thomas Larsson @ B-reel
Music: Bonobo – Kiara
More info on Marcus Wallander‘s website.
Interactive Window Concept made for the module Advanced Interface Design
at Hyper Island hosted by North Kingdom.
[This video is now 'debranded' due to the fact that the company don't want to be associated with it]
Client: WeSC – North Kingdom’s brief (Daniel Ilic)
At: Hyper
Island
Role: Research, Idea Generation, Concept, Design and
Production.
Who: Lucas Lima, Gustaf Engström, Marcus Wallander, Juliana
Silva and Bea Areilza.
Concept: Worldwide Conspiracy
Coach: Thomas Larsson @ B-reel
Music: Bonobo – Kiara
More info on Marcus Wallander‘s website.
Particles Installation
Particles Installation:re-blog from Computerlove
Particles is the latest installation made by Daito Manabe and Motoi Ishibashi
Particles is an illumination installation of seemingly floating lights that create a
fantastic afterimage, this work centers around an organically
spiral-shaped rail construction on which a number of balls with
built-in LEDs are rolling while blinking in different time intervals,
resulting in spatial drawings of light particles in all kinds of
shapes. The illumination's three-dimensional design, achieved through a
fusion of the rail construct's characteristic features and
communication control technology, takes on various appearances
depending on the viewer's position.
Particles is an illumination installation of seemingly floating lights that create a
fantastic afterimage, this work centers around an organically
spiral-shaped rail construction on which a number of balls with
built-in LEDs are rolling while blinking in different time intervals,
resulting in spatial drawings of light particles in all kinds of
shapes. The illumination's three-dimensional design, achieved through a
fusion of the rail construct's characteristic features and
communication control technology, takes on various appearances
depending on the viewer's position.
Sunday, April 24, 2011
Eurostar's sculptural new identity
Eurostar's sculptural new identity:re-blog from CR BLog
Eurostar is to unveil a new adaptive identity system created by SomeOne which has a 200kg sculpture at its heart
SomeOne's Simon Manchipp caused a stir in our sister publication Design Week last April when he explained his belief in 'brand worlds' as opposed to logos on their own. 'Logos are a hangover from another time,' he claimed. The logo, he argued, now needs to be seen in the context of a wider 'brand world'. '[With a] brand like O2, its success lies in the richness and depth of its 'brand world', which features bubbles, colour, photography and typography...you could remove the logo and still know the brand,' he argued.
Manchipp is putting these ideas into practice with the Eurostar project. Its starting point is a sculptural form initially created in Maya but then built for real in fibreglass and steel (see above). The form creates an 'e' for Eurostar which doubles as a cross-section of a tunnel through which another element suggests the movement of a train.
This form will then be applied to print materials, the trains themselves and all the other media you might expect. It is wrapped in different materials according to usage – gold for Business Premier class, a duck egg pattern for Eurostar's friends and family scheme, marble for its loyalty scheme etc.
Eurostar has recently re-organised from three companies into one, London-based entity. A £700 million investment will see new trains in preparation for competition from other train companies such as Deutsche Bahn. This has given SomeOne the opportunity to incorporate its new 'brand world' into the train interiors (which will be designed by Pininfarina).
Signage will feature pictograms derived from the sculpture (is it just us or does the lady in the toilet pictogram above look like she needs to get inside that loo pretty damn quickly?) as well as a bespoke typeface with snap-on swashes created by OurType.
The approach is somewhat reminiscent of Miles Newlyn's work for 3. Like that work, the form is perhaps inevitably more impressive in 3D than when applied in two dimensions. A giant sculpture, perhaps wrapped by some famous artist, would no doubt look spectacular at the entrance to Gare-du-Nord or St Pancras, SomeOne's task, and that of the ad agencies it works with, will be to mirror that impact in all the other regions of its 'brand world'.
It's too early to tell whether they will be able to pull that off or whether Eurostar will be remembered as just another shiny 3D symbol, the like of which we have seen many times over the past few years. SomeOne has the next year working with Eurostar to deliver on the idea's considerable potential.
Eurostar is to unveil a new adaptive identity system created by SomeOne which has a 200kg sculpture at its heart
SomeOne's Simon Manchipp caused a stir in our sister publication Design Week last April when he explained his belief in 'brand worlds' as opposed to logos on their own. 'Logos are a hangover from another time,' he claimed. The logo, he argued, now needs to be seen in the context of a wider 'brand world'. '[With a] brand like O2, its success lies in the richness and depth of its 'brand world', which features bubbles, colour, photography and typography...you could remove the logo and still know the brand,' he argued.
Manchipp is putting these ideas into practice with the Eurostar project. Its starting point is a sculptural form initially created in Maya but then built for real in fibreglass and steel (see above). The form creates an 'e' for Eurostar which doubles as a cross-section of a tunnel through which another element suggests the movement of a train.
This form will then be applied to print materials, the trains themselves and all the other media you might expect. It is wrapped in different materials according to usage – gold for Business Premier class, a duck egg pattern for Eurostar's friends and family scheme, marble for its loyalty scheme etc.
Eurostar has recently re-organised from three companies into one, London-based entity. A £700 million investment will see new trains in preparation for competition from other train companies such as Deutsche Bahn. This has given SomeOne the opportunity to incorporate its new 'brand world' into the train interiors (which will be designed by Pininfarina).
Signage will feature pictograms derived from the sculpture (is it just us or does the lady in the toilet pictogram above look like she needs to get inside that loo pretty damn quickly?) as well as a bespoke typeface with snap-on swashes created by OurType.
The approach is somewhat reminiscent of Miles Newlyn's work for 3. Like that work, the form is perhaps inevitably more impressive in 3D than when applied in two dimensions. A giant sculpture, perhaps wrapped by some famous artist, would no doubt look spectacular at the entrance to Gare-du-Nord or St Pancras, SomeOne's task, and that of the ad agencies it works with, will be to mirror that impact in all the other regions of its 'brand world'.
It's too early to tell whether they will be able to pull that off or whether Eurostar will be remembered as just another shiny 3D symbol, the like of which we have seen many times over the past few years. SomeOne has the next year working with Eurostar to deliver on the idea's considerable potential.
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