MA is Modern Atlanta. 2009’s modern home tour and week of design events is being held May 12-17. This year also includes some film screenings including Koolhaas Houselife and Gary Hustwit’s Objectified. The launch event this year will be held at the new White Provision building in West Midtown. Check the full schedule of nightly events is found on the MA website. Hope to see you there!
The current issue of CR features The Annual, showcasing the best work of the past year. Nine projects have been chosen for our Best in Book section, the ultimate accolade. We will feature each of them in a series of posts this week that include additional content to further explain each project. In this post, see how Lobo’s wonderful hand-crafted title sequence for Brazilian TV series Capitu was made
Capitu is a Brazilian TV mini-series adaptation of 19th-century novelist Machado de Assis’ work, Dom Casmurro. The story centres on an ageing man looking back on his life in an attempt to discover whether his best friend is the true father of his son, who he has raised with his wife, Capitu. De Assis’ novel is now considered one of Brazil’s most important Modernist texts and, in order to convey its radicalism, motion graphics studio Lobo looked to the Dadaist movement as inspiration for the TV show’s opening titles and interstitials. The team referenced what several avant-garde artists called ‘décollage’, a process where – rather than building up an image through layering – cutting and tearing instead reveals layers of buried images.
Here’s the title sequence
And this is how it was made
See more on this and the rest of the selections from this year’s Annual in our May issue, on newsstands now.
Credits Entrant: Lobo. Client: Globo Networks. Creative Direction: Mateus de Paula Santos and Carlos Bêla. Concept: Carlos Bêla, Roger Marmo, Mateus de Paula Santos. Design and Animation: Carlos Bêla. Assistant Animator: Rachel Moraes. Production: João Tenório. Music: Tim Rescala
We Got Time by Moray McLaren, director: David Wilson
Here is a rather overdue round-up of some of the best videos that have passed under CR’s nose of late. First up is David Wilson’s rather fine promo for We Got Time by Moray McLaren. And if you’re wondering how it’s made, you can find out all about it here.
No One Does It Like You by Department of Angels, directors: Patrick Daughters & Marcel Dzama
Warrior’s Dance by The Prodigy, director: Corin Hardy
Corin Hardy has created this animated video for The Prodigy, which features puppets created from cigarette packets. “I’ve always loved the Grimm fairy tales and there is a little of Elves and Shoemakers in this idea for me,” says Hardy.
Luftbahn by Deichkind, director: AlexandLiane
AlexandLiane has created this hilarious vid for Luftbahn by Deichkind. At least we’re assuming it’s all a joke, anyway…
Black Hearted Love by PJ Harvey & John Parish, directors: Jake & Dinos Chapman
Artists Jake & Dinos Chapman directed this video for PJ Harvey & John Parish. According to a predictably provocative article by Jake Chapman about the video that ran in the Guardian last month, the duo would like people “to watch our videos, go out into the street and burn their Porsches”. CR doesn’t own any Porsches but we’re still not sure that this film would initiate such action. We’ll let you make up your own mind though – let us know if any cars get torched.
Teddy Bear by Midfield General (feat. Ralph Brown), director: Kidda
This video is the latest collaboration between Midfield General and animator Kidda.
The Reeling by Passion Pit, directed by Hydra
Directing collective Hydra (Sam Stephens, Ariel Danzinger and John Hobbs) has made this video for Passion Pit. Inspired by the worn away layers of advertising and flyers on New York’s streets, the film was quite an undertaking. According to the production company, Humble, “the video, shot on the new handheld Canon EOS 5D II DSLR, was edited, tracked and composited in normal post workflow. Then, every other frame, some 4305 of them, was printed out, crumpled up, spray mounted in stacks, and then reshot on homemade animation stands. A month of long nights, razor cuts, toxic fumes, and a terrabyte of stills later, we came out with this.”
Titles sequence for Off Camera film festival, by Richard Morrison
Something different now – a new titles sequence by Richard Morrison, created for the Off Camera independent film festival, currently taking place in Krakow, Poland.
Outside Lands festival preview, directed by Elliot Jokelson
Finally, we end on another festival-related film, this time for the Outside Lands music festival in San Francisco. Elliot Jokelson has directed this super-cute video which introduces viewers to this year’s festival line-up.
Helvetica filmmaker’s latest project focuses on the world of industrial design. Check out the trailer on the film’s site. Screenings will take place as part of the Hot Docs festival in Toronto on May 3rd and 4th.
Illustrator James Jarvis and Shynola director Richard Kenworthy have collaborated on a lovely new film for Nike. Oh, and you can see Jarvis talk at our Portfolios event
The film is Jarvis’s first. To get the accurate running action, Kenworthy filmed Jarvis (a very keen runner) on a treadmill, then recreated his movements (it’s not motion capture).
Here’s more from Jarvis on how the project came about:
“At the beginning of last year I was thinking about what kind of project I would like to work on. I had become interested in the idea of characters that were less referential and more iconic and abstract. I particularly wanted to do something with a potato-headed stick-man that I had been drawing at that time.
I liked the idea of a moving image project that involved my obsession with running. Rather than make a narrative-based film, I wanted the content to be non-linear, reflecting the way I make drawings that have a logic all of their own.
I was talking to a friend at Nike, Kerry Shaw, about this idea and, given the subject matter, she suggested that Nike might be interested in supporting the film. I had been an admirer of Shynola’s collaboration with David Shrigley in their promo for the track Good Song. I liked the way it maintained Shrigley’s drawn aesthetic in its transformation into moving image, so I contacted them to see if they would be interested in working with me on the idea. Richard ‘Kenny’ Kenworthy agreed, and worked heroically on the film.
The film was inspired by certain personal experiences in running – a favourite run over Blanchland moor in Northumberland, being attacked by a crow in Singapore – and also by the transcendent, almost psychedelic experience of the simple act of running.
Rather than a marketing project inititated by Nike, the film was something proposed and produced by myself, and as such I hope represents a much more equal collaboration with a brand.”
M-novels, M-soap operas and a musician who goes on world tour from his living room – Kirsty Allison reports from Tokyo in this special CR film on Japan’s mobile culture
More on what Kirsty saw:
M-FILM: the Pocket Films Festival “These screens are portable, digital and easy to edit and distribute from. It’s culture in your pocket,” says Professor Masaki Fujihata of the Tokyo University of Arts, and director of the Tokyo Pocket Films Festival. He sees the medium as the message, with M-films currently serving as sketchpads for ideas where an ideal duration is under five minutes, although he predicts that future M-films “will go on to win Oscars”.
M-SOAP OPERAS: Voltage Production company Voltage specialises in M-games and M-soap operas. Shooting for half an hour a week, Voltage breaks weekly stories down to five-minute chunks which get downloaded by young girls largely in search of romantic titillation. It claims hits of up to 10K per episode. CEO Tsuya Yuuzi likens the current era to the early gaming industry.
M-STREET ART: HP France Gallery Shibuya’s hub of hip is this basement gallery where street artists such as Sense, Baku, Kanosue Shunsuke and Takeru Nakabayashi meet with software developers to design comedy mobile interfaces that add a little more wasabi heat to regular mobile menus. These collaborations lead to animations such as sushi belts which speed up and slow down according to levels of mobile reception. Mao Sakaguchi, curator of HP France began customising screensavers with artists several years ago, 3 is the first British company to adopt similar tactics to reach the social networking, data-loving generation, and has recently commissioned artists to create screensavers for its INQ handset.
M-LIVE: Merce Death The name for this one man band derives from the Japanese pronunciation of Mercedes. Art director and home lover, Shingo Oono goes on world tour from his living room studio in the suburbs of Tokyo, thanks to the wonders of modern technology (mainly streaming site, Ustream.com); he layers guitars with bass and drums, broadcasting direct from home. Watch online, on phone, or join in with the World Online Jam.
M-BOOKS: M-Novelists The Keitai Shousetsu phenomenon is particularly popular with the young, and is encouraging them to get back into books. Written and delivered on mobiles (authors Honjo Sae and Tadashi Izumi, above), with associated paperbacks, merchandise, anime and TV, this is true cross-platform culture. M-books follow viral patterns, with initial chapters often being free. Bestselling Tokyo Real has 32m hits, and paperback sales of 3m plus.
Kirsty Allison travelled to Tokyo as part of the 3snapshots.com project
MTV Cherry Girl film, director: Johnny Hardstaff, production co: RSA
MTV has launched a new website, Cherry Girl, with this quirky film from director Johnny Hardstaff.
The website is part of MTV Switch, the music channel’s climate change initiative, and will reveal the philosophy of life according to the character Cherry Girl, says the press info. Cherry Girl is an impulsive character, who finds that her actions, which are seemingly self-indulgent, can have a positive effect on the people and environment around her. The site will contain a blog, and Cherry Girl will also have a presence on Facebook, Twitter and Flickr.
“The brief [for the film] was simply the story,” says Johnny Hardstaff. “A girl makes unpredictable things happen through what might seem to be initially selfish actions. I designed the character, the film, and directed it. What wasn’t live-action was created in-house at RSA 3D, and the flame work was handled by Framestore CFC.
“My aim was to make as quirky a film as I could within the constraints. I like it when you see tourists wandering around London with sweatshirts bearing broken English text. I wanted to make the visual equivalent to that. It doesn’t quite make sense, but you get the feeling.”
CR May issue cover, issue side. Photography: Luke Kirwan
The double, May issue of CR features nearly 100 pages of the finest work of the past year in The Annual, plus features on design for the London Olympics, advertising and YouTube, the amazing rollercoaster ride of Attik and, we hope, lots of other interesting thing too…
Cover, Annual side
The Designers Republic’s special issue steel cover for Autechre album, Quaristice, was one of our Best In Book selections. Warp and tDR have produced so much great work that this seemed a fitting endpoint for a great client/designer relationship
More spreads from The Annual
Will designers remember the London 2012 Olympics as fondly as they do those of 1968, 72 and 84? Not without an improved tendering process and a strong creative director, says Mark Sinclair
Inspiration? Rip-off opportunity? Eliza Williams looks at the effect of YouTube on advertising
The amazing rollercoaster ride of Attik
Beatrice Santiccioli colours your world – she may even have chosen the colour of your Mac
Airside is ten, but it nearly wasn’t. Gavin Lucas interviews Fred Deakin
Rick Poynor on Milton Glaser, artist
James Pallister reports from the Colophon magazine festival
Do we need 128 versions of the same typeface? David Quay responds
This month’s Monograph (for subscribers only) features Dixon Baxi designer Aporva Baxi’s collection of Nintendo Game & Watch games, shot by Jason Tozer
The May issue of CR is out on 22 April. Or you can subscribe, if you like…
Or, ‘I’m sure I’ve seen that dancing bear before somewhere’. Thanks to Chunnel.tv for alerting us to this clip (by Vinichou) pointing out that, when it comes to recycling, Disney was way ahead
“I would assume that Disney regarded some of these sequences as sort of ’stock’ motion,” says Chunnel’s Stu, who posted the clip, “and it was probably the new guy’s job to go dig out those Jungle Book cells and translate all the monkeys into dwarfs.”
Chunnel.tv is a creative showcase site that is run by WPP’s United Network.
As a great example of the power that music can have on the mood of a film, check out B3ta contributor Monty Propps’ chilling recreation of the opening titles to 1980s US sitcom Diff’rent Strokes, where he’s replaced the familiar jaunty song with an altogether more disturbing score…
Propps says that the new film is only “slightly edited in terms of colour and ageing filters” and that he just tweaked the new soundtrack in a couple of places to fit the titles. (The music is in fact taken from 1982 slasher flick, The Dawn That Dripped Blood).
Mr Drummond’s car never looked so ominous.
More of Monty’s work at his YouTube page, here. (Originally seen on BoingBoing).
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.