Animade

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Animade showcases new, appealing interactive web game-experiment

Everyone’s favourite London animation studio, Animade, has created an interactive web experiment called Party Pooper. The aim of the fun, simple game is to remove the bunch of strange guests within the room, using the various tools laying around. The simple aim of the game is remisicent of many point-and-click online games.

The game consists of various characters that have simple “bopping” movements. This creates the characters to have a sense of likeable characteristics, combined with the simple shape and bold colours. The animations for each character’s removal from the room is also thoughtfully creative, so the viewer is actively engaged with it. The user has simple tasks of using the various tools to clear the room, and such tools include scissors, duct tape and a hammer.

Designed and animated by Animade’s own Milo Targett, the characters are simple yet brilliant — just block-colour shapes given heaps of personality via their subtly different eyes and ways of moving. Development was by Simon Neveu. The backing tracks by Prince Lucien and Big Cool Slug are the icing on the cake.

What I can take from Animade’s fun and playful web experiment game for inspiration into my own work is the consistent use of colour, shape and character design, which is consistently used throughout many of Animade’s projects. Utilising this consistency helps build up the design style prescence of the studio, and makes it easily and quickly recognisable for what studio the project has originated from. I could use this method of consistency into my own work and portfolio, so I can build my own design prescnece strongly with my own design style, thought, ideas and outputs.

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It’s Nice That

Party Pooper

Animade

Barnbrook Studios

Somerset House showcases Kubrick exhibition with identity designed by Barnbrook Studios

Barnbrook Studios has designed the identity for the upcoming exhibition about Stanley Kubrick at Somerset House. The visualisations are clearly based on Kubrick’s most well-known film piece, A Clockwork Orange. The composition of the graphic images are reminiscent of poster release of the film itself, back in the early seventies’. Other evident elements of the graphic images that are reminiscent and references towards Kubrick’s significant film is with the spiked eye motif, as well as the typography used on “Kubrick”. This typography used is very similar to the typography used for A Clockwork Orange film posters.

Barnbrook Studios designer, Marwan Kaabour says:

The idea is to tie the act of daydreaming with the ‘organ of vision’, by producing a series of representations of the eye as referenced in Kubrick’s films. The eyes are then mixed and matched for different applications to evoke different themes, emotions and aesthetics. The artists featured in the exhibition are in turn going through the same process with the pieces they produced.

The typographic makeup of the exhibition title follows the same logic. Each word in the exhibition title is inspired by the typography used in the marketing material from one of Kubrick’s films. It also aims to pay homage to Kubrick’s appreciation for using distinctive typography. When viewed together, the eyes and the exhibition title form an abstract face. The colour palette, orange and blue, produce an arresting high-contrast combination that recall themes Kubrick has addressed in his films like violence, sex, war and madness.

What I can take from Barnbrook Studios Daydreaming with Stanley Kubrick for inspiration itno my own work is the use of exploring into the themes and motives of what the subject addresses, and elaborate and create artwork around that area. The bold and simple use of graphic icons in the identity design clearly conveys the understanding and subject matter towards the viewer. Also, the use of bold, contrasting colours with simple, strong graphics can be visualised with good comprehension for the audience.

INFO: Daydreaming with Stanley Kubrick runs from 6 July – 24 August 2016 at Somerset House.

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It’s Nice That

Barnbrook Studios

 

Studio Juice

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Camden Town Brewery receives punchy, appealing new identity from Studio Juice

Studio Juice has created a refreshed, bold identity design for Camden Town Brewery, which follows the branding intention of: “that screams from tap rooms to bottle shops.

Implemented across its beer packaging, tap badges and advertising, the updated graphics have punchier, bolder colours and bespoke typography across the product range.

For each of the individual beer names, the design studio creates a single different treatment to each one, like with the beers: Hells, Pale Ale and Pils. The decision to apply a individual type treatment to each beer provides a sense of “character”, which the studio says. The individual type treatment also provides a visual appeal and attractiveness, as varied typography combined with varied colours gives a diverged ranged for consumers.

The enlarged product names also all have a drop shadow, inspired by sign writing, backed by vivid blocks of colour and a heavy use of white.

As well as refreshing the identity, the studio also reworked the branding of the brewery with their logo:

…revamped the brewery’s roundel, simplifying the outer circle and making the central marque more unified and visible. Creative director Ross Stirling explained the idea was to create “a standalone icon that would be instantly recognisable even without the brand name attached, and easier to apply across the brand.”

For consistency, the Camden lozenge was also altered to align with the redesigned branding. The redesigned marque gave influence for the Camden lozenge to be sharper and more in geometric design.

The strong use of bold colours for the new identity design provides a sense of vintage look and appeal, yet still maintaining a modern fresh visual.

What I can take from Studio Juice’s new identity design for Camden Town Brewery for inspiration into my own work, is the strong, punchy and bold use of typography and colour combination. This inspiration could be applied to my own identity and packaging design, or with any other design project/brief. The vintage feel and look of the colours and typography is also inspirational for creative ideas and visuals, as vintage design is trending.

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It’s Nice That

Studio Juice

S-T

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HarperCollins 2016 Big Book Bonanaza gets identity design from London design studio S-T

London-based design studio S-T has created and designed the identity for 2016 HarperCollins Big Book Bonanaza, with the collaboration with illustrator Jamie Jones and animation studio One Darnley Road. The concept of the identity design is based on a playful and fantastical garden where books are the flora and fauna. This creates a playful and fun approach to bringing books to the visual area. Collaborating with the said creatives, the illustration and animated work brings the playful and light-hearted garden to life. The intricate garden has the plants and trees replaced with books, rather than flowers and leaves. Another nice, playful feature that the garden features is the illustrated creation of book-butterflies that harmoniously flitter around, while being chased with readers equipped with butterfly nets.

“The concept is based on the idea that, with each new book release, HarperCollins helps stories to “grow and flourish” says S-T. “We decided a garden was the perfect metaphor to visualise this.” The Big Book Bonanza is the publisher’s annual touring event showcasing the year’s new books.

The concept and theme continously goes onto other related visual communication and materials, such as ranging from the invitation which has a papercut, fold-out gate, to large display boards, tote bags, all printed marketing materials, animated videos for the event’s video showcase’s section introduction.

Taking a sharper eye with the playful illustrated work from Jamie Jones, his illustrations unveils slight stranger details extracted from stories, that are hidden throughout the fantastical garden. Such subtle details that Jones includes in his illustation is a sword, an old streetlight, a fountain, a typewriter, a bloodied knife, a whisk and a war plane that are all found across Jones’ flat, sharply drawn and colourful illustration style.

The animations supplied from the animation studio One Darnley Road brings Jones’ colourful illustration to moving image, as the animation studio concentrates on a single book butterfly, flittering through the intricate colourful garden, discovering and revealing readers and other surreal creatures towards the viewers.

What I can take from S-T’s collaborative work with Jamie Jones and One Darnley Road for inspiration for my own work is the use of a playful and colourful illustrative idea for the identity of a book publisher. The concept and theme is light-hearted and fun, which creates a sense of thought and clear understanding towards the viewer. The concept and theme of the identity is not complex or difficult to comprehend. The flat, sharply drawn illustrative style that Jones’ consists of for this identity design can be taken as inspiration, as his style is playful, neat and visually appealing to the eye. The use of colours and shapes are distinctively drawn and showcased.

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It’s Nice That

S-T

Jaime Jones

One Darnley Road

Moniker

Designer Fund’s neat and clean laser cut posters, from design studio Moniker

For their internal speaker series, Designer Fund approached San Franciso-based design studio Moniker to produce 12 posters, with an open brief. The founder of Moniker, Brent Couchman, says:

The posters needed to find a balance between abstract and literal for various reasons. The biggest being the fact that speakers could change and drop out due to scheduling. Rather than hinging the posters on the speakers, we agreed on certain topics that could act as the brief for each poster.

The poster designs have simple shapes and lines, complemented with strong, contrasting colours. The use of the laser cutter to help produce these posters gives a visualisation of depth and ‘pop out’ sense.

“The themes were developed using simple shapes and Moniker made the decision to evolve the preceding vector-based artwork with designs that explored the concepts with physical materials.

The use of the simple shapes creates a strong use of composition, along with the strong colour choices and the use of the laser cutter to create the depth towards the visualisation. Also, with the consistent use of a plain white background, it creates the posters to be light and easy, rather than heavy in multiple colours. However, if the decision was a black background, the overall output for the posters will be viewed differently. There would be a heavy sense, whereas the white provides the better sense of depth, especially with the laser cut areas of each poster design.

Brent continues to say:

“Paper was chosen for its availability and we chose Colorplan papers specifically for their bright and bold range of colours. After designing several versions of the posters we created renders to get an idea of how the compositions would work and how best to light them. Once we had the idea approved we moved pretty fast, having the paper laser cut, then assembling and photographing over several days.

What I can take from Moniker’s poster designs for inspiration into my own work, is the strong use of a laser cutter and photography visual technique, as well as the use of simple shapes merged with strict geometries. The use of a laser cutter to create shapes and composing and photographing it, provides a different approach to digital design. This technique provides a handcrafted sense to the output.

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It’s Nice That

Designer Fund

Moniker

Tiago Galo

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Portuguese illustrator Tiago Galo’s appealing, light character illustrations

Tiago Galo’s recent illustation work series of appealing, light-hearted character imagery, showcases the characters in typical situations, such as daily tasks and sporting events. The imagery creates a sense of a light appeal to the viewer, as the plump, subtle-coloured characters are placed in their situation innocently. The narrative behind each piece is simply understood, and are slightly backed with the humourous captions, which gives the illustrations that little more playful and fun appeal to them.

“The chunky limbs, overhanging guts and unconcerned expressions add a slight change of pace compared to his other illustration work which feels more quaint and textural.

The colour palette that Galo uses is subtle and contrasting aganist each other, as well as the narrative that each illustration holds. The colour choice and illustration style that Galo holds in this series of work gives a sense of a print feel, a sense of effort and practice. The use of line and shape are simple, which makes these illustrations work successfully well. The simplicity of the lines and shape help the imagery as a whole, be visually understandable and clear for the viewer.

What I can take from Tiago Galo’s impressive character illustrations for inspiration is the effective use of colour choice and shape. Galo expertly merges the two together nicely, creating an output that appeals to the eye, yet cover a loose narrative storytelling. I can take this into my own illustration inspiration for the idea generation, as well as the imagery, illustration style.

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Call me crazy but I bet it’s gonna be a new world record

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Her favourite thing in the world is to jump into swimming pools. She hates to get wet, though

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My papa always say: it ain’t real till it’s on TV

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I spend half my days drinking coffee. I spend the other half making the coffee

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Caught two

 

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Cabbage lifting

It’s Nice That

Tiago Galo