This video from Offset 2012 is an interesting look into the working process of Winchester based graphic designer Olly Moss. He talks about his career and the creative process involved with creating poster artworks for a number of big Hollywood films. Not only does he discuss his successful projects but he also goes through a number of jobs that didn’t come out as intended. There’s also a look at his debut exhibition in LA at Gallery 1988.
“Best known for his re-imaginings of film posters, Moss makes images that are true to the heart of the movie, but filtered through a worldview that assumes intelligence and a wry understanding of pop culture from the audience. Clever and a little retro, Moss’s work makes the art slaves in Hollywood marketing departments weep with envy at his brilliance. It’s not only fan boys who’ve taken note. Sony, Lucasfilm, Apple, Penguin Books, Nike, Mondo Tees, Studio Ghibli – Moss counts them among his client list.”
We’ve recently helped London based digital production studio INK develop a new website to put a focus on the fidelity of their work. A key aim was to put the artwork center stage regardless of what device is being used to view the site. The final HTML CMS based website uses responsive styling to change the user experience dependent on screen resolution.
‘INK makes creative use of its digital tools to deliver beautiful and bespoke images and film. Our idea is to deliver work that feels hand-crafted, made for a particular client, with the same attention to detail and sophistication expected of the leading brands we love to work with.’
This really made me smile. A beautifully executed 3D short film directed by Nicolas Deveaux featuring high board diving Giraffe’s. Paris based Cube Creative marks a decade in business with this magical and architecturally stunning film named for the average height of its stars. This film follows on from Nicolas’s previous film 7 Tonnes 3 which features a trampolining elephant.
An interesting look inside the McLaren Technology Centre in Woking, Surrey. It’s amazing the design and care that goes into the production line and not just the MP4-12C.
“The heart of McLaren Automotive – The McLaren Technology Centre and the new McLaren Production Centre. The headquarters for one of the most successful Formula One racing teams, the Woking facility is world renowned for technology innovations and design. JF Musial tours the new production line for the MP4-12C and looks behind the scenes at what’s to come for the growing super car company and race team.”
We’ve been working with Shortcut to help develop their branding and website. Shortcut (Sussex Hampshire Off Road Track) is a project aiming to open up the disused railway line between Petersfield and Midhurst for use by the local community for walking, cycling and horse riding.
Shortcut is a registered charity supported by the the South Downs National Park with funding for a feasibility study to be carried out by Sustrans. Shortcut asked us for help in branding the project and creating a website to allow the public to register their support.
This is a great talk by James Victore about striving to do good design work that really matters. His work for the Department of Probation is a great example of taking a difficult project and making something truly great. He does use a few rude words in this video (…and all of the other ones).
“James Victore runs an independent design studio hell-bent on world domination. He is an author, designer, filmmaker and firestarter. He continually strives to make work that is sexy, strong and memorable; work that toes the line between the sacred and the profane. His paintings of expressionist designs can be seen on ceramics, surfboards, billboards and supermodels.”
I’ve posted Gianmarco Magnani’s work a number of times before. There’s something quite magic about it. Always a little twist in the application and detail. His latest series is an ode to the moped. Specifically the Honda Super Cub (Passport).
It’s inspiring when you see the work of a friend from University on the big screen at your local cinema. Territory Studio in London worked on creating the User Interface graphics for last years Prometheus by Ridley Scott. The video above was posted earlier in the week to showcase the UI work they put together for use in production. It’s really impressive to see such complex organic graphics used in a high tech way. David Sheldon-Hicks talks through working on the project in an interview with Art of VFX:
“The biggest challenge was technically achieving the node based operating system we had devised. We wanted the computer graphics to use lots of connected lines, almost like cables or tentacles. The movements and shapes of these node lines would be affected by the steady undulating rhythm of tabs, windows and widgets. To create these nodes strands in the way we wanted in After Effects proved to be a little tricky. In-fact, at the time, we couldn’t find a plugin or work-around that would make it work. We had the option of going into 3d which would have worked, but based on our timelines wasn’t practical. In the end a good friend, Carl Fairweather, built us a plugin that gave us the solution. We had lots of Bezier handle controls that we could parent and weight to other objects movements. All our motion designers loved it and he developed it further as we started asking for more features.”
This is a great Creative Mornings talk in Portland by Aaron Draplin from last year . Aaron explains his point of view on life as a graphic designer in a very unique way: ’a 50 point plan ruin yer career’. In case you offend easily there is quite a bit of swearing.
Aaron Draplin is the force powering Draplin Design Compay in Portland, Oregon. Having made a name for himself with stand-out work for snowboarding companies and their like, he’s now courting more mainstream clients including Coal Headwear, Union Binding Co., Richmond Fontaine, Field Notes, Esquire, Nike, Wired, Timberline,Chunklet, Red Wing, Incase, Giro, Cobra Dogs, Megafaun, Ford Motor Co., Hughes Entertainment, Chuck Prophet, and even the Obama Administration. Born in the Midwest, and a graduate of the Minneapolis College of Art, Draplin has become an important voice in the world of graphic design while maintaining a sense of humor.
This stunning set of photos are from a 2010 photo shoot to recreate the battle between the Porsche 917K and Ferrari 512S in the 1970 Spa 1000km race. Shot by Steffen Jahn they really create a strong atmosphere and sense of speed. Steffen has a really stunning portfolio of work.
Stuttgart-based Steffen Jahn uses a 56 megapixel Mamiya Leaf Aptus-II 10 to shoot these stunning images, capturing the spirit of the cars he photographs as much as their design and profile.
“I always try to bring inanimate objects to life. A car is all about speed, movement and acceleration and the fascination it brings to the driver as well as to the spectators. This is what I try to emphasize in my images,” said Jahn.
He discovered his passion for photography at an early age and up until recently relied on the traditional virtues of film, “After finishing an apprenticeship in one of Europe’s biggest car studios, I started to assist car photographers worldwide for a couple of years – and this lead straight into becoming a car photographer.”