If you happened to catch any of the Euro Cup 2016 games last week on ESPN you probably saw the handy work of Imaginary Forces who crafted the intro sequences for the games. In all it was a diverse package of more than 200 animated elements inspired by the history and artistic heritage of the host country France. Below is the finished output, as well as the making of that shows how it was done. For the final piece, leave your volume on, for the making of, I say turn it off because the background music get pretty annoying pretty fast. The making of visually however is really fascinating, showing how they captured acrylic paint smears, and hand drawn elements blending them with live action footage, stills and 3D elements. It’s a nice way to spend a few minutes on a Friday afternoon.
Power house video effects and production company Imaginary Forces have created a new spot to introduce the new Toyota fuel cell vehicle. The spot is deceptively simple, which is why I have posted the behind the scenes video first. This shows a great example of blending live action with CG effects using some very sophisticated motion control cameras. One of the things I like about the making of / behind the scenes video is the fact that they talk about the concept as much as the production. They could have just shown how the commercial was shot, but the tech is only one leg of the chair. How Imaginary Forces ties the creative, and storytelling component in is equally compelling. It’s a simple idea on the surface with many complex layers underneath.
If you produce any form of video or animation based content for TV, Film, The Internet, Mobile and Tablet based devices, you need to watch this film. “The Art of TV Title Design” by PBS Off Book, is a great short film that features some of the heavy hitters of Title Design talking about their craft.
Opening credits are quite often the first thing an audience sees when they watch a great film or TV show. While they are very memorable, more often than not they are not talked about in great detail. Even though they help set up the story, and close it out.Good Title Design is an art form, as much as any other aspect of the broadcast and film industry. The designers that create title sequences are asked to invent concepts that bring the core story out, and enhance the overall production themes, to create a visual experience that pulls the viewer into the film’s world.
In the video below some of the most inventive people working in the field of title design today, including the creators of the iconic Mad Men sequence, the hilarious Zombieland opening and the stirring end credits from Blue Valentine, discuss what goes into making a great title sequence. Featured in the short film are Peter Frankfurt and Karin Fong, Jim Helton, and Ben Conrad.
One of my favorite TV commercials of the last ten years has been the “Get Real” spot for Herman Miller created by Imaginary Forces. The commercial is set to Charles Mingus’ “II BS”, and features a line that swerves and undulates through images of furnitures and the designers that created them. The ad concept is the amazing work of Karin Fong. What Fong does with this ad is where many designers fall short. Not satisfied with simply moving images and type on the screen, Fong takes it a step further, merging images, concept, motion and thought into a complete whole which has become a trademark of her design style over the last few years.
Fong is one of the founding members of Imaginary Forces, and a lead designer behind many of the last decades stand out movie title sequences and television commercials. One of the best ways to describe her work is “smart”. Her work focuses on concepts and storytelling that is complete and can be successfully compressed into less than 3 minutes of space. This design thinking constitutes the basic building blocks for her work, and can be seen in everything from the playful nature of the Dr. Seuss “Cat in the Hat” movie titles to the illustrative nature of the opening sequence for “Charlotte’s Web”. Fong is fascinated with how ideas develop and take shape over time, moving from an abstract concept to a tangible vision. The way letter forms become images, the way shapes and photographs magically transform into something new. According to Fong, concrete poetry at the turn of the last century and the work of the Dadaists and Surrealists are solid forms of inspiration, as well as Saul Steinberg’s drawings for The New Yorker, where there’s a playful straddling of the visual and the verbal.
Over the course of her career, Fong has maintained an interest in the fusion of design and ideas from the influence of many of her heroes like Joan Ganz Cooney, who founded the Children’s Television Workshop in 1968, which in turn produced Sesame Street, pushing television as a medium in a new direction, with a social purpose. What struck her about Cooney’s work was his ability to take a powerful idea and make it real, and in the process of doing so transform a cultural institution. Another strong influence on Fong’s work comes from Sheila de Bretteville, an artist and designer who joined the Yale faculty in 1990 as director of graduate studies in graphic design when Fong was attending school there. de Bretteville advocated strongly for the way a designers voice can influence the outcome of a project, and that designers shouldn’t be subsumed by their clients. She argued that student designers and professionals alike should adopt a strong voice, attitude, and clear point of view about their work and stand by it.
Fong embraced this idea after she graduated from Yale in 1994. She worked on a season of Where in the World Is Carmen Sandiego? at WGBH in Boston, using an interactive alphabet book that she’d made as her senior thesis at Yale as a calling card to get the job. Her next stint was at R/Greenberg Associates, quickly picking up skills in the newly available Photoshop and Illustrator programs along the way and working with Kyle Cooper, whose level of dedication inspired a similarly focused attention in Fong. Although the transition to the computer—both for Fong and the industry as a whole—would radically shift the graphic design industry, Fong still insists on keeping one foot firmly planted in the material world, often working by hand before moving her work into the digital realm.
In her current work, writing well has become increasingly central. “I think it’s so important to have basic skills, just so you can articulate an idea,” says Fong. “But I really wish right now that I could write dialogue. There’s a way of triangulating from the page to the screen, and the more fluid you are with that transition, the better.”
I think one of the things that is so powerful about Fong’s work is the fact that it is at once situated in pop culture and advertising and yet feels smart and playful. The work doesn’t come off as dismissive, condescending, or overly commercial. Fong takes cues and influences from a long list of storied artist and designers and manifests it in a unique way for her own compelling work and vision. Less than fifteen years after graduating from Yale, she has made an indelible mark on the world of motion graphics and design and her influence will continue to be felt for decades to come.