L’artiste « Horchatapop » est un véritable chirurgien de l’image. En plus de saisir le moment clé afin d’immortaliser tout le charme d’un paysage qui s’offre à lui, il est également capable par la suite de retranscrire tous les détails de l’instant grâce à un travail de retouche poussé. Le résultat est surréaliste à souhait.
Le Studio Fubiz a collaboré avec le studio de création digitale ELMØ, ainsi qu’avec la marque Timberland pour réaliser une campagne créative dédiée au dernier modèle Radford.
L’univers créatif du studio ELMØ est fait de machines assemblées entre elles pour produire des effets visuels ludiques. En animant les rouages de ses machines, ELMØ provoque des changements de mise en scène forts, capables de capter l’attention du spectateur sur l’élément central de la scène.
C’est tout naturellement que l’équipe du studio ont choisi d’ancrer la création de la campagne Radford dans un environnement industriel marquant. Il correspond à la fois à l’imaginaire créatif du studio et à celui, très urbain, de la marque Timberland.
La création montre une chaussure Radford évoluant à travers les 10 étapes clefs d’une chaine de montage. Chaque étape active un rouage et dévoile une chaussure flexible et légère, capable de répondre aux différents tests qu’elle traverse. Pour réaliser cela, l’équipe du studio ont étudié avec précaution la flexibilité de la chaussure Radford, afin de retranscrire au mieux son mouvement.
Réalisée avec la technique du motion design, la création joue avec les perspectives, les ombres et les lumières pour donner une impression de 3D à l’ensemble. Exposée sur une bâche de 150 mètres de long en Gare de Lyon, le résultat est spectaculaire : la chaussure semble se détacher de son environnement pour dévoiler sa souplesse. La texture et la matière de la chaussure semblent également palpables.
A partir de ces visuels forts et singuliers, la marque et le studio ont pris le parti d’ancrer la Radford dans une dynamique moderne et innovante, une campagne mise en avant sous le slogan « Let’s Flex ».
That kick-ass transforming shop cart drew a lot of attention two weeks ago. So yesterday Timothy Wilmots, the craftsman who built it, started posting a video series showing you how he builds it from scratch.
Part of the fun of watching it is drooling over his high-end stationary tools. Not all of you have access to a Felder table saw with a slider, but everything he shows you could also be done with a plain-Jane table saw or circular saw, a router, a jigsaw and some patience. (Stay tuned ’til the end to see how that turntable is powered.)
I can’t get over how brilliant the design of this MFSC (Multi Function Shop Cart) is. And Wilmots is selling a comprehensive set of plans for it here.
Also, a question for our European readers: I could’ve swore table-saw-based dado cutters were illegal in Europe, but Wilmots, who is based in Belgium, is clearly using one in the Felder. What gives?
I am no master craftsman; I consider myself barely competent, and yet I learned to cut dovetails like these after taking several sessions of a class.
So something that’s been puzzling me is why, on antique furniture, are dovetails that were made by master craftsmen often so sloppy?
I’ve heard the theory that joiners/cabinetmakers were simply in a rush and didn’t care how they looked, but something about that always nagged at me. Here Richard Maguire, a/k/a The English Woodworker, provides an alternate theory that I find compelling:
It makes perfect sense to me. The craftsmen of centuries past did not have access to finely-made tools like the kick-ass dovetailing saw I use; the manufacturing of the time simply wasn’t as dialed in as we’ve got it now.
I posted this video to a woodworking group on Facebook–and while some agreed with it, I also got instant push-back. “There is no documented or physical evidence to support this theory,” one commenter wrote. But isn’t the Industrial Revolution, and the constant improvement in tool-building over what people were stuck with before, the evidence itself?
Enhance is a boutique industrial design firm with core focuses in full-service product development as well as designing and positioning products for licensing. We are looking for passionate, driven and creative new graduates for product design, 3D modeling, photo-realistic renderings, animations, prototyping and marketing material development for consumer products in our portfolio, as well as for our clients.
Over the years we’ve been conditioned by movies, from the “Terminator” flicks of the ’80s and ’90s to more recently, the “Fast & Furious” franchise’s “God’s Eye,” to have a concept of what computer vision looks like.
But how does the real thing stack up? Take a look at this computer vision system’s take on Times Square:
That’s Google Research’s NASnet, a “state of the art object detection framework.” I was interested to see that it not only picks up vehicles, people, bicycles and traffic lights, but also backpacks, handbags and even drinks cups.
I have mixed feelings on watching this technology progress. Obviously it’s coming no matter what, and I’d like a system that can detect, say, a known terrorist hauling a backpack. On the other hand, if you haven’t yet seen that video of miniature assassin drones–which are basically bullets that can move in any direction and have someone’s name written on them–you need to check it out. If that technology falls into the wrong hands, we’ll be wishing we lived with Terminators instead.
Incidentally, I believe the Daft Punk soundtrack was not added in post-production, but that all computer vision systems spontaneously generate French house music. I’m not a scientist but I know that it’s integral to the computational process.
Which gives me an idea: What would Daft Punk Terminators look like?
“We’re going to funky kill you”Few years ago we showed you the Leveraxe, a Finnish design twist on an axe head that makes splitting firewood easier:
Well, turns out that idea wasn’t new, even if the execution was. An American dude named Bob Kolonia invented the Chopper1 Axe way back in 1975, and it sold like hotcakes.
The way that it works is interesting:
According to the company, Kolonia decided to wind the company down in 1989. But in recent years people have been asking him to start selling the axe again.
“At first he resisted, but realized that with the internet, he could sell the Chopper1 Axe directly to the consumer,” the company writes. I guess sometimes you just have to axe nicely.
Cherry pickers like these are a pretty common sight in the city. They use them for everything from pruning trees to lighting movie scenes to hanging decorations for festivals.
Well, I got up close and found they have a very nifty UI:
That’s good design, and I imagine it speeds training time immensely.
Atelier ARI’s Pluglight is a suspending workspace lamp that allows users to charge their devices simultaneously.
Created by Momo Pixel, “Hair Nah” is a retro-style video game that teaches people not to touch black women’s hair. Players select their character’s skin tone, hairstyle and location and then have to swat away invasive and prying hands. For those who……
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