Graphic designer, Laia Clos, of Barcelona’s Mot Studio, created her own musical notation system called „SisTeMu”. Here we see the score of Vivaldi’s Four Seasons translated into geometric shapes and colors. They’re being sold now as posters.
The project, called „Lesquatrestacions”…began „by accident” last year when Clos wanted to make a gift for her studio clients based on „the idea of linking music, graphics and data visualization.” She began with a set of stamps, but fell down the rabbit hole and ending up creating SisTeMu, „a graphic notation system which looks at interpreting musical texture,” she tells Co.Design. „It somewhat simplifies the complexity and mathematical structure, making it accessible to the viewer through a visual narrative.”
Post pobrano z: Receipt Racer A microproject by undef and Joshua Noble.
The receipt racer combines different in and output devices into a complete game. It was made during the „Let’s feed the future workshop”, part of the OFFF Festival in Barcelona on June 8th 2011.
Post pobrano z: Love You to Bits Here’s a bitter sweet love story for Broken Social Scene’s “Sweetest Kill” directed by Claire Edmondson.
“Sweetest Kill” is from the 2010 album Forgiveness Rock Record and the video stars Bijou Phillips and was shot over one day in Los Angeles. The video, although very sweet in its styling (Edmondson is a former stylist) and art direction, features a pretty brutal and gory kill.
„The killing is more metaphorical than actual,” says Edmondson. The whole video is really just about keeping the people you love, but can’t be with, in a beautiful place”.
The video, which was partially funded by MuchFact, the music video, epk, viral video and website production fund exclusively funded by Canadian music television stations MuchMusic and MuchMore, has been banned by both stations due to its content. “I’m not surprised by the ban,” says Edmondson, “but I also never made it with the intention of creating controversy.”
Smart pick-me-up-and-make-me-laugh-or-think liners, these really cool mugs from Typography Shop are nice designy gifts for creative colleagues, designers and typophiles.
Post pobrano z: Dvein’s Monsters For Terminix A hoard of frightening monsters invade homes in a cinematicTV campaign for pest-control brand Terminix created by ad agency Publicis Dallas and produced by Blacklist’s Barcelona-based directorial and design collective Dvein. The four spots, part of the 2011 integrated ad campaign, use high-end 3D animation to liken termite, cockroach and ant infestations to the creeping specters of disease and structural damage.
For Dvein, creating such unsettlingly insatiable creatures was a chance for the Blacklist-repped collective to design and animate characters unlike any others seen in feature film or commercials. “Dvein’s work for Terminix is edgy, fresh, attention grabbing and creatively inspiring,” says Adina Sales, Managing Director / Executive Producer, Blacklist. “We are so grateful to work with the Publicis Dallas and Terminix teams who have been great collaborators keen to push boundaries from the start.”
“We liked the idea of working so deeply in character animation,” adds Dvein. “It was something that we hadn’t done before. We love how original and different the campaign is from what pest control companies typically do in advertising.”
Each monster is based on a hybrid of animal and insect features. The hefty, winged star of “Flying Monster”, for example, combines the lumbering nature of bison and elephants with a piranha’s gaping mouth. Dvein dispensed with eyes to emphasize its more unsightly features and add extra fright value.
“We thought it was important to create monsters that were unusual and unsettling,” adds Shon Rathbone, EVP, Executive Creative Director, Publicis Dallas. “Something from the dark corners of the imagination.”
In “Beams”, a psychotic, multi-mouthed creature with buzz-saw teeth gnaws away at a room. “Our main concern was to distance it from being insect-like and made it more animalistic,” they say. “In all the spots, the idea was to build a collage of attributes, forms and textures in line with a termite’s modus operandi.”
Dvein animated the creatures using a combination of manual and simulation tools, such as 3D Studio Max, Maya, After Effects and Nuke, to give each action-packed ad as natural a feel as possible, amplifying the realism of each monster’s weight and anatomy with strategic camera framing. “In this project it’s pretty clear that we have a taste for realistic, organic forms,” they say. “Our influences are traditional animation techniques and the cross-section between disgustingness and cuteness.”
This particular job required a lot of trust between collaborators, which is one of the reasons Publicis and Terminix looked toward Blacklist and Dvein, as they worked together on Terminix’s 2010 campaign. Familiar with Dvein’s diverse artistic talents, they gave them a lot of freedom to conceptualize and design the monsters and the resulting campaign is not only a persuasive warning for consumers, but evocative of Dvein’sdarkly imaginativecreative vision.
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