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.

Last week, after watching Shaun White win gold whilst nailing the Double McTwist 1260 (AKA the ‘Tomahawk’) on the snowboard half-pipe in Vancouver, I remembered the stylish promo animation for the BBC (seen above). The art style reminds me of early 1920s eastern european film, Frank Miller’s Sin City and the hatched illustrations of Edward Gory. For a more recent example of this 3d animation with 2d cel-shaded styling, take a look at Mad Word. It’s a great piece. A full motion picture in this style would be fantastic.

Having said that, I still love the Beijing 2008 BBC promo, ‘Meet Monkey‘, which was based on the classic Chinese tale, ‘Journey to the West’ and animated by those responsible for the Gorillaz music videos!

(Opinion: Jon Price – Graphic Designer)

Old news it may be, but Jérémy Clapin and Stéphane Piera’s 2008 Oscar contender ‘Skhizein’ is an absolute must see. For those who missed out on this beautifully realised and curious tale of Henry and his slightly displaced universe, here it is in full. Quintessentially quirky and French, it’s a joy to behold full of original ideas and visual cleverness not to mention rock solid art direction and admirable follow-through in all aspects of the execution.

Available here to buy on DVD with an insightful making of.

Thanks to monographer.

(Opinion: Jon Price – Designer)

]]> http://blog.dnaadvertising.co.uk/2010/02/02/american-express-advert-impossible/feed 1 http://blog.dnaadvertising.co.uk/2009/06/29/wolf-and-pig http://blog.dnaadvertising.co.uk/2009/06/29/wolf-and-pig#comments Mon, 29 Jun 2009 13:53:38 +0000 jon price http://blog.dnaadvertising.co.uk/?p=636

This video, called “Okami to Buta” (オオカミとブ) or ‘Wolf and Pig’, is a charming Japanese stop-motion animation using just stills photography and lots of ingenuity. Watch the video above to follow the chase that uses over 1,300 printed pictures!

(Opinion: Jon Price – Designer)

One of my design heroes is undoubtedly British graphic designer and consummate typographer Jonathan Barnbrook. Renown and admired for his pivotal role in British graphics and his strong political views and contribution to social causes, Barnbrook strives to use the power of his design skills as a weapon for social change and for the moral good.

I was pleased therefore, when I spotted Barnbrook’s unmistakable ‘Virus’ fonts in the latest British Heart Foundation television advert. Directed by Barnbrook, “The spot features a Virtual Heart Simulator, alongside a typographic treatment by Barnbrook of various words from the voiceover.”–CR. Whilst undeniably graceful, and wonderfully paced, I do slightly wonder at the choice of some of Barnbrook’s self-designed typefaces – as beautifully crafted and animated as they are. A pleasant change and real step away from recent BHF advertising.

Now to go home and dust off my signed copy of ‘The Barnbrook Bible’…ahhh.

Take a look at the advert here.

(Opinion: Jon Price – Designer)