(Opinion: Jon Price – Designer)

Earlier in the year, Paul, Simon, Matt, Rob and Jon headed down to a Design In Devon meet to see D&AD president Simon ‘Sanky’ Sankarayya discuss ‘The changing landscape of digital design’. Whilst departing his knowledge of interactive design, social media trends and their benefits to clients and audiences, he used this inspiring video as an example of ‘hacking’ technology and breaking the boundaries of interactivity within non-commercial, self initiated projects. It has to be shared – the amazing EyeWriter, ‘a low-cost eye-tracking apparatus & custom software that allows graffiti writers and artists with paralysis resulting from Amyotrophic lateral sclerosis to draw using only their eyes’.

Article by Paul Mabin – Creative Director / Managing Director

It would seem that more than ever, designers, animators and filmmakers are using text within a real-world context. The release of Ubisoft’s Splinter Cell: Conviction saw the visual feature of mission objective reminders being projected into the environment, mapped over 3D space. The result is quite striking within gameplay and not only creates a unique visual style but as they are never part of a HUD, gameplay is that much more organic and free flowing – see the Developer Diary. Another nice example of a similar technique was used in CodeMaster’s GRID – which placed text into the world as lit and rendered 3D objects, allowing the player spin and pivot the camera around it in menu navigation and replays.

These techniques have been used for years within film title sequences, but there appears to be a growing trend to integrate them into the main viewing/user experience itself, which I for one am a fan of but only when used sparingly and most importantly, appropriately. David Fincher’s Panic Room title sequence is frequently noted as the first example of genuine 3D text in the real world, but I would like highlight a recent addition to the list… Zombieland. In this instance, the comedy horror was enhanced by the integration of its trademark rules being animated in-scene. They create laughs through comic timing and use this visual reinforcement to push rules such as ‘#2 Double Tap’ not only into the annals of cult film quotations but into the urban dictionary. Zombieland works because it pokes fun at itself, it breaks the 4th wall and has post-modern winks – feeling just as much like you’re racking up hi-scores in a video game as enjoying a passive cinematic experience. It’ll be interesting how many more films attempt to use environmental typography as a gimmick in a similar way, see: (Scott Pilgrim vs. the World)
before it gets tired. Enough talk, let’s watch;

When First DataBank came to DNA with their brief for a corporate DVD presentation to be used in a sales pack and on exhibition stands, we knew exactly what they needed. As the UK’s leading provider of drug databases and active clinical decision support, their subject matter can get more than a little complicated but with DNA’s long-standing relationship with FDB we were able to get under their skin to create this animated typographic presentation that makes it all the more clear.

The pharmaceutical sector is ruled by results and facts and that’s exactly what we drew upon to highlight the benefits of working with FDB, and the possible dangers if you don’t. In-house, DNA Advertising story boarded, animated, wrote a bespoke soundtrack and edited the presentation.

View this video on our YouTube Channel.

Check out some more of our video work on our Vimeo channel.

England’s failure at the weekend was all but forgotten at DNA as we found out this morning that our Rob was sporting the new iPhone 4! He’s never been more popular, with a host of eager eyes gathering at his desk. In response to his ever-growing fan base Rob said “Pffhhhh?”. Take our words for it – It’s nice… very nice. (This photo was taken on an envious iPhone 3G).

DNA Advertising are again proud to be working with Torbay council, Creative Torbay and Torre Abbey on their latest exhibitions. After the success of TACO 09 (Torre Abbey Contemporary Open) and the Ultimate Day Out campaign, DNA have this year created an identity for ‘TAMED’ and ‘Art on the English Rivera’ as well as designing and producing the advertising and literature for the highly anticipated exhibition. Running from 6th July – 30th August and in conjunction with TACO 2010, TAMED brings the work of renown artists such as Richard Long, Heather Jansch and Damien Hirst to Torbay. See the details above or for more information or see the Torre Abbey website at torre-abbey.org.uk. We hope to see you there!

After doing some recent research for one of our clients, I came across some advertising produced for BMW. Believe it or not, these adverts were actually used, but mainly in Greece. I’m not sure that we would get away with them in the UK. If you dig deeper into these campaigns and read forums and blogs, they have been causing outrage and controversy for years, with claims that they are ‘demeaning’, ’sexist’, ‘chauvinistic’ and ‘degrading’. However, whether we like them or not, BMW must be having the last laugh. The very fact that people are talking about these adverts all over the world, whether in a good light or bad, can only be more publicity for BMW. As the old adage goes, their is no such thing as bad publicity – however, not quite sure BP would agree with that statement at the moment.

Opinion – Paul Mabin (Creative Director / Managing Director)

Article written by Paul Mabin (Managing Director / Creative Director)

I pass this house each day en route to DNA and thought it was about time to share it with you. If there’s one thing England fans are, it’s passionate. Let’s just hope that is was worth the effort!

(Jon Price – Designer)