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Gravity Cat out of the Box

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Post pobrano z: Gravity Cat out of the Box

Gravity Cat, the commercial for Playstation 4 game Gravity Rush 2 (known in Japan as Gravity Daze 2), has won a Grand Prix award at Spikes Asia. The commercial, commissioned by Sony Interactive Entertainment, was designed as a cat video demonstrating new laws of gravity outdoing Newton’s law of gravity. Although the game is animated, the Gravity Cat commercial is made as live action film in which two sisters and their cat run freely across the walls and ceiling of their unit, before being released to free fly through the sky. The commercial begins with a university student struggling with her thesis on laws of gravity. At the end she’s released to live outside of the box. The cat appears in the video in recognition of the sidekick cat character in the Playstation game. And, of course, cat videos are eminently shareable.

Gravity Cat in Gravity Daze 2 Gravity Rush 2 commercial

The production team explain that they tackled challenging visual expressions, including one-cut takes, POV filming, animal takes, and gravity changes. “We made it as realistic as possible to get viewers questioning/wondering how it was made, and to give it the wow factor.” See the making-of video below.

Gravity Rush, known in Japan as Gravity Daze [a], is an action-adventure video game developed by SCE Japan Studio and Project Siren, and published by Sony Computer Entertainment for the PlayStation Vita.[6] Directed by Keiichiro Toyama, the core mechanics of the game is the player’s ability to manipulate gravity, allowing unique movements and navigation.[7] The graphics are cel-shaded, which in Toyama’s opinion stand out from the western photorealistic trend.[8] A sequel titled Gravity Rush 2 was announced on Sony’s TGS 2015 press conference and was released in the United States on January 20, 2017 for the PlayStation 4.

Gravity Cat Credits

The Gravity Cat ad was develop at Hakuhodo Inc. Tokyo, by creative director Yuta Okuyama, creative team Yusuke Amagai, Yuki Yokoi, Keita Togawa, and Masumi Nishibori, account executives Kiyomi Wada and Maiko Hayashi.

Filming was shot by The Directors Guild director Show Yanagisawa and assistant director Masumi Nishibori, with Sturgeon cinematographer Ryoken Okamura, assistant cinematographer Shinji Kawai, lighting designer Atsutoshi Ueno, assistant lighting designer Kohsei Kobayashi, set designer Yukiko Kuribayashi, stylist Takeru Sakai, makeup artist Yuki Aika, Tohokushinsha Film Corporation producers Takashi Aso and Tatsuya Sunohara, production manager Takuya Omura, and assistant production manager Takuya Sugimoto.

Art production was by Shunsuke Okutani at Nouvelle Vague Co Ltd.

Editor was Etsuko Kimura at Active Cine Club with Hanako Tabata. Online editor was Kenichi Sasaki at Defense.

Visual effects were produced at Omnibus Japan Inc by CG director Tetsuaki Matsumoto, CG producer Hisamichi Kido and CG production manager Chu Ikebe.

Colorist was Toshiki Kamei at Cutters.

Sound was produced by sound designer Erito Ayaki and sound effects producer Yoshio Nakamura. Music, “Mewton” feat. Haru (DIALUCK), was composed by Yuma Yamaguchi, with and produced by Kazuyoshi Tonami at Yuge Inc.

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IKEA Cook This Page at home

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Post pobrano z: IKEA Cook This Page at home

IKEA’S Cook This Page, an in-store promotion in Canada, has won a Grand Prix award at the Clio Awards. The IKEA Cook This Page campaign involved a set of printed recipe sheets distributed to IKEA stores to encourage use of IKEA kitchenware and food products. “The Cook This Page Parchment Paper Recipe Series,” a collection of easy-to-make recipes printed on cookable parchment paper. With step-by-step instructions and a list of ingredients precisely illustrated on the parchment paper to match actual proportions, the only thing one had to do was add food, roll it all up and bake it. The sheets are printed with food-safe ink. With the fill-in-the-blank directions, you can place the salmon, meatballs, shrimps, fruit crumble and other ingredients inside the printed layouts. Finally, roll up the paper with all the ingredients and get ready to cook your meal.

IKEA Cook this Page - Salmon

IKEA Cook this Page - Meatballs
IKEA Cook this Page - Shrimp
IKEA Cook this Page - Crumble

IKEA store managers created in-store events across Canada to show that cooking can be fun, simple and exploratory. Posters were offered to customers as they selected kitchen ware and ingredients. All 12,500 parchment paper recipes available in 18 locations were snatched up within hours.

IKEA Cook This Page Credits

The IKEA Cook This Page campaign was developed at Leo Burnett Toronto by chief creative officer Judy Johns, creative director Lisa Greenberg, group creative director/art director, designer and illustrator Anthony Chelvanathan, group creative director/copywriter Steve Persico, senior graphic artist Robin Osmond, executive producer Franca Piacente, agency producer Alexandra Postans, print producers Good Cathmoir, Anne Peck and Carly Price, group account director Allison Litzinger, account director Emily Robinson, account supervisor Rebecca Simon, chief strategy officer Brent Nelsen, VP group planning director Tahir Ahmad.

The Cook This Page kits were printed at Printed By Somerset / Mississauga, using paper from Papertec Inc and ink produced at Trade Graphics By Design Inc.

Photographer was Arash Moallemi at Fuze Reps.

The video was produced by videographer Jonathan Lajole, food stylist Matthew Kimura, editor David Nakata, with music by Grayson Matthews.

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Game of Thrones Tapestry in Northern Ireland

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Post pobrano z: Game of Thrones Tapestry in Northern Ireland

Tourism Ireland has won the Grand Prix at the Kinsale Shark Awards for the second year in a row, following on from the Doors of Thrones campaign to the Game of Thrones Tapestry. After seven years of production, Game of Thrones® has truly become a part of Northern Ireland’s heritage and culture. In order to celebrate this, Tourism Ireland have created the Northern Ireland Game of Thrones® Tapestry – a giant, 77 metre long medieval wall-hanging that brings to life the events, locations and story of the most popular television series of all time. Harking back to Northern Ireland’s rich heritage of textile and linen manufacture, the Northern Ireland Game of Thrones® Tapestry was hand-woven and hand-embroidered using linen sourced from one of the last surviving linen mills in Northern Ireland. Traditional medieval tapestries of a similar size have taken upwards of 20 years to complete. 66 metres of this tapestry were created in under 3 months, to be followed by a new section every week, following the release of each new episode of Game of Thrones® season 7. The full Northern Ireland Game of Thrones® Tapestry is currently on display at the Ulster Museum in Belfast, as well as online at Ireland.com.

Game of Thrones Tapestry

As season 7 unfolded, new sections of the tapestry were revealed each week, using a mix of cinemagraphs, time-lapse videos of the weaving process, carousels and Instagram Stories. Each element of the campaign drives fans to an interactive “Northern Ireland Game of Thrones Tapestry” web app that allows fans to zoom in and explore the tapestry in full and share their favourite scenes with their friends via social media. The website also reveals the shows filming locations in Northern Ireland, and links to build an itinerary for their own trip.

Behind the Scenes

Before being woven and embroidered, each key scene and character from the show has to be painstakingly recreated and designed by artists and illustrators – condensing over 77 hours worth of storytelling into 77 metres of drawings. Once the hand illustrations are complete, designers recreate the drawings digitally, in order to map out the weaving guide and colour pallets befitting each individual scene. These are then hand-woven and brought to life by expert weavers, on a state-of-the-art Jacquard Loom. Each section of the tapestry comprises of Northern Irish linen, as well as the same fabrics and textiles used for the costumes and sets in the show. Once woven, hand-embroiderers then meticulously retouch every fine detail – from King Joffrey’s golden crown to Daenery’s shimmering hair.

Game of Thrones Tapestry Credits

The Game of Thrones Tapestry project was developed at Publicis London by executive creative director Dave Monk, creative director Dave Sullivan, copywriter/art director Josh Norbury, designer Duncan Rogers, account director Ben McKee, account manager Kathryn Mason, strategist Chris Turner, social media planner Radd Nadesananthan, business director Katie Edwards, agency producer Kal Parmar, working with Tourism Ireland head of marketing communication Brian Twomey, central marketing director Mark Henry.

Textiles production was done at Dash+Miller.

Digital media was designed at Hugo & Cat. Media was handle at Carat London.

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How to Draw an Octopus Step by Step

Post pobrano z: How to Draw an Octopus Step by Step

Final product image
What You’ll Be Creating

The theme of this tutorial is drawing an octopus; we’ll base it on the anatomy of this mollusc but also bring some stylization into our artwork.

I’ll show you an easy way to create a pencil sketch from scratch, and then we’ll explore the step-by-step process of drawing with ink liners. We’ll also learn to use dots and mix artistic techniques to our advantage! 

What You Will Need

  • A sheet of drawing paper
  • A graphite pencil (I recommend using an HB type)
  • An eraser
  • An ink liner number 0.2
  • An ink liner number 0.1
  • An ink liner number 0.05
The art supplies I will be using

1. How to Draw an Octopus With a Graphite Pencil

Step 1

I draw a slightly curved core line; it will help us to mark the positioning of the figure.

Drawing the core line

Step 2

I outline the rough shape of the head. Then I add an oblong shape where the eyes are located.

According to this foreshortening, one side of the octopus is more visible to the viewer than another.

Working on the head of the octopus

Step 3

I add the framework of the limbs. An octopus has eight arms that can be divided into four pairs.

Now I mark only the arms that are visible in the foreground, just to keep the process as simple as possible. We’ll add the hidden arms later.

Adding the arms

Step 4

I draw the eyes. They are large, enclosed in a capsule, and have a slit-shaped pupil.

Adding the eyes

Step 5

I draw the fold of the aperture at the side of the head.

Adding the head details

Step 6

I add the siphon; it resembles a funnel. An octopus uses a siphon for respiration and locomotion.

Now we are ready to proceed to drawing the tentacles, or the arms. This topic needs additional explanations, so I’ll see you in the next section! 

Drawing the siphon

2. How to Draw Tentacles 

Step 1

It’s worth mentioning that, according to Wikipedia, the correct name for the limbs of an octopus is „arms”, not „tentacles”. But since it is a common appellation, I’ll be using „tentacles” now and then throughout the tutorial.

I draw the first pair of arms, keeping the lines smooth and soft.

Drawing the first pair of the arms

Step 2

To draw the inner parts of the tentacles correctly, we need to keep in mind the principles of perspective.

The foreshortening defines how much of the interior surface we see; the image below illustrates this concept.

We’ll dwell upon drawing the suckers (the round elements that cover the interior surfaces of the arms) just in the next step.

Comparing the foreshortening examples

I add the inner parts of the first pair of arms.

Refining the first pair of the arms

Step 3

The stylized form of a sucker resembles a bowl with a hollow central cavity.

The principles of perspective are applicable here, too: the point of view defines how we see the object. For example, if we have an overhead view of a sucker, we’ll see only the top plane with the cavity and no sides.

Exploring the perspective How to draw a sucker

Each arm has two rows of suckers. Depending on the species, the suckers can be placed in a parallel or a staggered order.

The rows of suckers

I add the suckers to the first pair of the arms. The suckers get smaller towards the end of the limb, so just mark the smallest ones without adding many details.

Adding the suckers to the first pair of the arms

Step 4

I draw the second pair of arms and then add the inner sides.

Adding the second pair of the arms

Step 5

I add the suckers to the second pair of arms.

Adding the suckers

Step 6

I draw the remaining tentacle of the third pair. Then I add the inner surface and the suckers, just as we did in the previous examples.

Working on the second pair of the arms

Step 7

I draw the second arm from the third pair; it is hidden behind one of the arms in the foreground.

Adding a new arm

Step 8

I add the fourth arm pair. Use your imagination and artistic flair to find the best direction for these arms; it’s important to keep the balance of the figure.

I applied light pencil hatching to the inner parts of the limbs just for your reference.

Drawing the fourth set of arms

Step 9

As a final addition to this pencil sketch, I draw the suckers.

I clean my drawing with the eraser. It’s important to make sure that all unnecessary pencil lines are removed before proceeding to any additional artistic tool. 

The sketch is ready for inking!

Completing the pencil sketch

3. How to Draw With Ink Liners

Step 1

Before we begin inking our octopus drawing, let’s try some warm-up exercises and practice making dots on the paper. 

Dotwork (also known as stippling) is a great artistic technique; it’s a perfect choice for creating beautiful textures.

Draw a sample of dotwork that consists of two parts. Use the 0.2 ink liner for the left one and the 0.1 liner for the right one.

A dots size variation sample

Step 2

Create a line, using only dots. The speed of drawing influences the accuracy of the individual dots within the line.

The 0.2 ink liner is a great tool for this exercise.

Creating various kinds of lines

Step 3

The goal of the next exercise is to make a gradation of value. With the 0.2 ink liner, create a sample with an increasing density of ink dots.

Playing with the density of the ink dots

4. How to Draw an Octopus With Ink Liners

Step 1

With the 0.2 ink liner, I create the main contours. 

To make the drawing more interesting, I use a dotted line in addition to a traditional continuous outline.

Working on the contours

Step 2

I add dots to the sides of the octopus, using the 0.2 ink liner. I also darken the pupils and mark the darker places of the figure.

Creating the main details and the texture

Step 3

With the 0.1 ink liner, I add a layer of dots to the drawing.

Completing the basic texture with dots

Step 4

I add dots to the back arms of the octopus, using the 0.1 ink liner. To create the core shadows of the arms, you can place dots closer to each other.

Working on the back arms

Step 5

I outline the suckers, using the 0.05 liner, and also add dots to the eyes to make them more three-dimensional.

Outlining the suckers

Step 6

With the 0.2 liner, I add another layer of dots to the sides of the octopus, giving the drawing more contrast and making it more three-dimensional.

I create a pattern of the skin, applying the groups of dots to the head and arms. Approximately five dots per group is the way to go.

Increasing the contrast and creating the pattern

Step 7

I make the contours of the drawing a bit thicker, using the 0.2 ink liner.

Working on the contours

Step 8

The ink drawing is complete!

As a finishing touch, I apply pencil hatches to the sides of the octopus, creating soft transitions from shadow to light. This combination of artistic techniques makes the drawing more unique and interesting.

Adding the graphite pencil strokes

Your Drawing Is Complete

Congratulations! You’ve created a beautiful artwork; I hope you enjoyed both the process and the result.

I wish you much success in drawing with pencils and ink. Have fun capturing the unique charm of the wonderful world of animals and nature!

Your drawing is complete
Design

Design deals for the week

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Post pobrano z: Design deals for the week
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Every week, we’ll give you an overview of the best deals for designers, make sure you don’t miss any by subscribing to our deals feed. You can also follow the recently launched website Type Deals if you are looking for free fonts or font deals.

The Holy Craft Bundle Vol II

Continuing from the success of the 1st instalment, Missy Meyer releases her 2nd exclusive bundle and for a limited time ONLY you can grab some of her most popular products for 92% off the RRP.

$15 instead of $195 – Get it now!

Laura Worthington’s Industrial Typeface Voltage

Reach back to the Industrial Age, full of big, bold words and cars! The Voltage Font Family by Laura Worthington offers up a practical typeface that’s both assertive yet down to earth. Loaded with hundreds of OpenType Features from swashes to ligatures, this is one charged-up font family that you won’t want to miss out on.

$9 instead of $35 – Get it now!

1500+ Design Elements in 1 Huge Graphic Pack

Looking to give your latest projects a bit of a boost? This Huge Graphic Pack is sure to please with more than 1500 professional design elements! You’ll get a wide variety of tools including backgrounds, logos, badges, textures, vintage illustrations and more from a slew of different themes ranging from arcs to food to nature.

$8 instead of $750 – Get it now!

109 Professional, Premium Fonts with Extended License

Your typeface toolbox is about to get a massive expansion. With this fabulous font bundle, you’ll get 109 typefaces in 75 unique font families, for 1 low price. With so much variety, you can work with virtually any client of yours, as well as pick up new ones. That means putting together everything from T-shirts to totes to invitations.

$12 instead of $1800 – Get it now!