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Month July 2008

Cloud Formation: A Forecast of Dream Shapes

This multimedia exhibition will feature work by architects, artists and designers: Morgan Veness, Haruka Kokubu, Didier Ryan, German Perez Tavio, Malou Dunkley, Patrick Santamaria, Billy Ryan, Sam Painter.
Described as a ‘forecast of dream shapes from concept to reality’ which will explore ‘evolving shapes, surreal qualities, elevated perceptions and floating sensations’, the exhibition will include contributions from Australia, Japan, Spain and the United Kingdom.

Cloud Formation: A Forecast of Dream Shapes
August 2nd-3rd, 12-5pm
Surry Hills, Sydney

Further information
Private viewing, RSVP to cloud4m@gmail.com for details of the event and location.

Emily Gobeille – Gallery

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Emily Gobeille is an art director and designer currently working in the motion graphics industry. Her recent project, ‘Funky Forest’ is a immediately engaging, interactive and brightly-coloured experience.

Creative Hong Kong in London – Gallery

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Hong Kong designers bring a feast of world class design to London.

In a capital city famous for its long and all-embracing relationship with design, this celebration of the work of leading Hong Kong designers took place in three well-known venues – Harvey Nichols, a British department store in Knightsbridge (now owned by a Hong Kong enterprise), the Design Museum, and the London Business School.

The campaign entitled Creative Hong Kong in London, was launched at Harvey Nichols with a collaborative exhibition of ten world renowned brands and ten accomplished Hong Kong designers who drew inspiration for their designs from the 10th anniversary (1 July 2007) of Hong Kong’s reunification with China. Products designed included a Chinese dining setting, a hi-fi system, fashion accessories, a watch, and a unique ‘treasure box’. Designer/brand collaborations included Gary Chang and Alessi (Treasure Box for Urban Nomads), Vivienne Tam and Georg Jensen (8S), Barney Cheng and LeSportsac (Brilliant Beauty), Lo Chi Wing and KEF(Stringless Pleasure), Michael Young and o.d.m (Euclide), and Alan Chan and Salvatore Ferragamo (Hong Kong My Love). Limited edition products were also on sale.

TOYGIANTS – Gallery

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Toygiants is a celebration of toys: the culture, the passion, the obsession.

Brittany Veitch – Gallery

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Brittany Veitch is a young artist and toy designer with an eye for the macabre. Recently graduating with first class honours in Industrial Design from RMIT University in Melbourne, as well as having a Diploma of Furnishing, she is a great example of the transdisciplinary practice of many designers today. Creating her work with different media and practices from drawing, CAD, sewing, animation, video, to performance art and puppetry; she explores themes that are always a little left of centre.

Studio Output – A closer look – Gallery

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In a recent issue, DG magazine online covered Studio Output’s interior design for Seven, a small hotel in Bangkok, Thailand. Intrigued by their approach to this brief, we decided to take a closer look at the work done by this UK studio.

Warwick Baker – Gallery

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Warwick Baker is a young photographer on the rise, with fashion and portrait work, as well as an increasing music folio with an impressive list of clients including Cut Copy, My Disco, Gotye, Sarah Blasko, Claire Bowditch and Powderfinger. Kate McCurdy spoke to Warwick about what goes on behind the lens.

Warwick Baker

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Warwick Baker is a young photographer on the rise, with fashion and portrait work, as well as an increasing music folio with an impressive list of clients including Cut Copy, My Disco, Gotye, Sarah Blasko, Claire Bowditch and Powderfinger. Kate McCurdy spoke to Warwick about what goes on behind the lens.

Why photography?
Warwick learned the social aspect, and the fun, of photography when he first studied it at Belconnon High School in Canberra, before moving to Melbourne to complete a BA in Photography at RMIT University. In addition to this, Warwick believes that he has learned more about photography from working part time at the Camera Exchange in Melbourne and from assisting Glasgow artist Paul Knight for two years.
Warwick recalls that he was first attracted to the camera because ‘it is like having a license or passport to anywhere you want to visit’. It also allows him to indulge his curiosity in human nature by allowing him to approach complete strangers on the street, who then consent to him photographing them in their home environment. ‘I could only do that being a photographer’, he acknowledges.

Film vs digital
Warwick shoots with both film and digital cameras, but will use them in different ways in different circumstances. When working for clients he says that he only shoots in digital because of its immediacy and its cost effectiveness. Alternatively, for his own projects he chooses film with a large format 5×4 inch camera ‘for its incredible detail and stillness’, as well as the nature of the photography itself.
‘I love the therapeutic process of using a large format camera and that every picture is considered. I also like the anticipation of waiting for the film to get processed,’ something that seems somewhat out of time in the digital age. Indeed, in the two weeks after Warwick bought a new digital camera he was astonished that he had pumped 10,000 frames through it; ‘I wouldn’t even do that in a year of shooting film.’

Cut Copy - In Ghost Colours

Cut Copy - In Ghost Colours

The shoot
When preparing for a photo shoot, Warwick explains that this is where most of the work takes place.
‘There is always heaps of preproduction. Taking pictures is probably one-tenth of the process.’
He prefers to have a preconceived concept and structure behind it, and makes sure that the ideas are accepted by everyone involved before anything happens. With that security in place, Warwick does enjoy having an element of spontaneity and improvisation in the shoot, such as what happened on the shoot for Cut Copy’s In Ghost Colours album, as the two-day duration of the shoot allowed him the time and the freedom to experiment more with his subjects.
Most often Warwick has creative freedom with regards to the concept of the shoot, although it is always subject to the client’s approval. When working with bands, his inspiration comes from  extracting themes from the music, which was the case with My Disco’s album Paradise.
‘It is a very minimal, sparse and cinematic record so I wanted to have My Disco in the barren landscape looking very insignificant in contrast to the unforgiving landscape.’

The landscape, and indeed the whole environment in which he photographs someone, has a great effect on the atmosphere and mood of a shoot.
‘I’m really over the studio because it is a very lifeless and uninspiring place,’ he says. ‘It is so important that everyone is comfortable in the space where the pictures are being made.’

Introducing new characters
The concept for a series of promotional photographs for Belgian-Australian artist Gotye came from a discussion between Warwick and Wally de Backer (Gotye) about dream states in Where the Wild Things Are. Together they came up with the idea to include the darkly animated creatures from the Hearts a Mess video clip, by Brendan Cook, in the photos.
‘I was really excited because I am a great fan of Brendan’s clips and I have never added graphics before.’ The result is an exploration of a dreamscape, as the pajama-clad Gotye gives the photographs a sinister yet childlike quality.
While at this time not interested in venturing into the world of music video production, Warwick continues to create interesting artistic concepts for his work with musicians and bands, with a dream to one day photograph Nick Cave.
‘I would love to photograph [him] somewhere in the desert in South Australia or Western Australia,’ he describes. ‘I would like to present him as a lost, disillusioned and lonely explorer from the 1800s.’

Gotye

Gotye

Creative influences
Warwick lists among his creative influences the work of Rineke Dijkstra, Alec South, Wolfgang Tillmans, Steven Shore, August Sander, Jacob Holdt, Robert Frank, Luc Delahaye and Paul Knight. ‘I also have a letter written to my grandfather by Max Dupain in 1939 in his Bond Street studio discussing surrealism that I find incredibly inspiring.’
While he doesn’t think that he has a particular style, Warwick says that he loves the ways in which the medium of photography allows him to explore new subjects, themes and aesthetics: ‘I look for subtlety and hidden elements when I am creating pictures.’

My Disco

My Disco

Warwick has recently been involved in the I am Afraid exhibition at the Uber Gallery, portraits from which are currently hanging in Alter. He is currently working on a new body of work that will be published in a book by And Collective, Every place tells a story.

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Studio Output – A closer look

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In a recent issue, DG magazine online covered Studio Output’s interior design for Seven, a small hotel in Bangkok, Thailand. Intrigued by their approach to this brief, we decided to take a closer look at the work done by this UK studio.

Ministry of Sound; Saturday Sessions Summer 2008 campaign, May

Ministry of Sound; Saturday Sessions Summer 2008 campaign, May

Studio Output (SO) was formed in the UK summer of 2002 by three partners: Dan Moore, Rob Coke and Ian Hambleton. Dan and Rob had formed the senior creative team at another small design agency in Nottingham – in the UK’s East Midlands – while Ian was a friend of theirs who had also been an occasional client. Feeling that it was time to branch out and try something that reflected their own values, Dan and Rob decided to go out on their own, with Ian looking after all of the non-design work.

A little history
Creative Director Rob and Art Director Dan are both originally from the suburbs of London. Rob studied a BTEC – the equivalent of a foundation but more vocational – in Design and Typography at the London College of Printing (now London College of Communication) and then moved up to Nottingham to study his degree. After graduating he started working for a friend at a local studio called Twelve:Ten. As the lead designer in a growing team, this was an exciting position, working quickly on a vast amount of club flyers and sleeves for small independent labels.
Around the same time, Dan had graduated from a Fine Art degree in Derby – Notttingham’s nearest neighbour – and started designing his own flyers when promoting and DJing at local clubs. He joined Twelve:Ten as a junior designer and quickly established himself as a brilliant all-rounder, and eventually the time came to leave and set up Studio Output.
Steve Payne, SO’s Senior Designer, joined the company in 2005 from another Nottingham agency, where he’d spent ten years working his way through the ranks from Junior Designer to Creative Director. At Studio Output, he has been able to work on more creatively rewarding work, offering him an outlet for his own brand of ‘creative weirdness’. Similarly, Stewart McMillan had been working on projects for ‘large yet dull’ clients at an events company before he joined Studio Output as Designer. Stewart began working in-house for SO at Ministry of Sound, and in June 2006 he joined Ian (Account Director) to set up the second studio in Clerkenwell, London.

Studio Output - Ministry of Sound, Genres

Studio Output - Ministry of Sound, Genres

The work environment
The most unusual thing about the work environment at Studio Output is that it is spread across three sites; as well as the studios in Nottingham and Clerkenwell, there is a designer who is based in-house with their client Ministry of Sound who works with the internal marketing team under SO’s art direction to create all the campaigns required by the club and international tour schedule.
Management across the three sites aims for consistency, with the Studio Manager controlling the workflow via an online job-tracking system and constant communication about the status of jobs – an essential piece of organisation that allows SO to continue delivering to their client’s, and their own, satisfaction.

The essential open dialogue policy
The nature of the work at SO is so multi-disciplined that the designers aren’t divided into layout, typography or illustration, but rather they are expected to be able to combine all of these elements to answer the brief in the most innovative way.
SO has never employed account handlers, which results in the clients having an open dialogue with the creatives leading the project, or even the designers doing the day-to-day work.
‘This helps both parties to gain an understanding of each others’ aims and gets rid of the misinterpretation you can get from a longer chain of communication,’ SO explains, ‘we can only do this by employing well organised people, who thrive on the challenge of creative thinking, for each position and keeping them on top of their game through regular brainstorming, training and teambuilding.’

Studio Output - JARK

Studio Output - Ju$t Another Rich Kid Fall?winter

Creative collaborations
In the past, Studio Output have always tried to keep their creative process in-house where possible, employing designers with a range of skills to handle any project. However, on a few occasions this rule has been bent where they have commissioned illustrators such as Jon Burgerman, or worked with motion artists like Up the Resolution. They also have a reciprocal relationship with interactive agency AllofUS, who helped SO with their website in return for helping to bolster their knowledge of print design. Now that it has grown to the ‘right size’, SO are now also looking at pulling in more specialist expertise on a project by project basis.

Project highlight 1 – Bluu
A few of Studio Output’s stand-out campaigns are the work they have done for Bluu, BBC Radio 1, Seven and Ministry of Sound. The varied nature of the client’s work reflects SO’s versatility and ability to prove its design talent across media and design discipline. Studio Output’s collaborative work with Macaulay Sinclair for Bluu, an exclusive collection of bars, restaurants and basements in London, Manchester, Nottingham and Glasgow, displayed not only how well the company can work together with other creatives but also on a package for a client including a coordinated identity, print campaign and interior graphic scheme.

Project highlight 2 – BBC Radio 1
BBC Radio1, one of the company’s first clients, employs Studio Output on an ‘ad-hoc’ basis, following successful identity and marketing campaigns for One Live in Nottingham in 2002, and the more recent Miami Winter Music Conference and Radio 1 in Ibiza. Each project is assigned to one or two designers who will liaise directly with a corresponding member of the Radio 1 marketing team, in keeping with Studio Output’s policy for an open dialogue between creatives.

Studio Output - BBC 1Xtra

Studio Output - BBC 1Xtra

Project highlight 3 – Seven
In a recent issue, DG magazine online covered Studio Output’s interior design for Seven, a small hotel in Bangkok, Thailand. Inspired by Thai culture as well as a theme of a room for every day of the week, SO created a stylish graphics package which included textile design for the bed linen, but which was also applied to other fixtures and furnishings throughout the hotel. The strong thematic approach SO took to the design, along with the distinct Thai influence, are key to Seven’s success in attracting young, professional tourists to the hotel.

Project highlight 4 – Ministry of Sound
Studio Output have been working with the flagship club since Spring 2005 when they were approached to pitch ideas for their London club and global tours; a relationship which has continued to flourish.
Keen to revitalise and reinvent their international identity, Ministry of Sound gave Studio Output a brief for their Summer 2005 Ibiza campaign. Studio Output responded by creating a series of images which allowed the recognised Ministry of Sound logo to appear in new locations, most memorably shaped by swimmers in a pool and in cloud patterns. After successfully helping the club to launch the new Friday nights concept ‘Switch’ and also develop a strong tour publicity campaign in 2006, Studio Output have most recently helped Ministry of Sound celebrate the return of summer in the UK with the bright and colourful Saturday Sessions Summer 2008 campaign.

Up ahead
Keep on the lookout for Studio Output’s graphics work on an exciting (and at time of publication, hush hush) new game for the PlayStation 3, as well as new projects with the BBC’s digital radio stations 1Xtra and Asian network.

Kate McCurdy

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Brittany Veitch

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Brittany Veitch is a young artist and toy designer with an eye for the macabre. Recently graduating with first class honours in Industrial Design from RMIT University in Melbourne, as well as having a Diploma of Furnishing, she is a great example of the transdisciplinary practice of many designers today. Creating her work with different media and practices from drawing, CAD, sewing, animation, video, to performance art and puppetry; she explores themes that are always a little left of centre.

A fairytale childhood
Much of her childhood years were spent in her mother’s toyshop ‘Hobbit House’, as well as playing with the family’s menagerie of pets at their home, including a deer, alpaca, turtles and quails. Brittany’s creations are often inspired by animals and their involvement in fairytales, as shown in her ‘Maimed Fairytale’ and ‘From the Woods’ collections. Although she has always marvelled at her sister’s vintage Steiff collection of toys – ‘I am particularly taken with a velvet zebra’ – it wasn’t until 2005 while studying Industrial Design that she began to make her own toys. Encouraged by working in an experimental studio in an open, supportive environment, at university she felt  unrestricted by traditional industrial design constraints and developed what became the ‘Maimed Fairytale’ collection, ‘in which the wounds inflicted on the toys are inspired by passages from the early editions of childhood fairytales.’

Maimed Fairytales

Maimed Fairytales

Toys from the dark side
Brittany sees her toys as art pieces, and hopes to have them exhibited and collected, rather than mass-produced for commercial gain. However, she delights in current trends in popular toy design and cartoons which delve into darker places in the name of fun.
‘I like that there is an alternative to the saccharine cute, for instance, Nathan Jurevicius’s ‘Scary Girl’, Amy Winfrey’s web cartoon ‘Making Fiends’ and the likes of Johnny the Homicidal Maniac by Jhonen Vasquez. Within my work there is recognition and admiration for other artists and practitioners, and a combination of these influences plays a role in how my work evolves.’

Creative inspiration
Brittany other creative influences range from Hieronymus Bosch’s vivid and complex imagery; to the way that Hiraki Sawa’s video art uses scale within environment to mix fantasy with the banal; the eerie sculpture and rogue taxidermy of Elizabeth McGrath; to video visionary Chris Cunningham’s clashes of the horrific and the comical; as well as animator David Firth’s wry-humoured flash animations of strange and disturbing stories. Brittany recalls viewing Firth’s work was what prompted her to create her own animations.

Designing across media: with a needle and thread in hand
Brittany generates and refines her concepts using both the computer and pen and paper, most often by sketching out ideas on paper and then refining the patterns using software such as Adobe Illustrator. However some of her sewing work is done more on the fly, where aesthetic and structural decisions of a project can be made as it progresses. Brittany chooses to hand sew most of her creations, such as the ‘From the Woods’ collection, as it is an integral part of the process and aesthetic of the pieces, but other toys use a combination of machine stitching and hand sewn detailing.
The ‘From the Woods’ collection has recently caught the eye of the frontman of Finnish band HIM, Ville Valo, who made a special request to meet Brittany during the band’s recent tour of Australia and went home with a family of seven deer from the collection.

From the Woods, Stomach Flap Materials: vinyl and felt.

From the Woods, 'Stomach Flap' Materials: vinyl and felt.

Brittany also enjoys the freedom of working in animation.
‘Animation as an artistic medium is a blast to work with because it requires patience and dedication…at the moment I am working on a hand drawn paper animation that explores the relationship between a mute girl and a lump of coal and [explores] themes of reticence, melancholy and how companionship is formed.’ Brittany has also provided illustrations for magazines, and participated in a puppetry show in the 2007 Melbourne Fringe Festival. She also has a number of planned projects in the works, including a series of short videos of landscapes modelled in 3D CAD software, as well as a photography series exploring the cliché images of 1950s happy families using cast taxidermy forms disfigured with the plague.

PAPER JAM. Murderous office machinery versus office drones. Braden Keir, Ben Landau, James Secombe, Brittany Veitch.

PAPER JAM. Murderous office machinery versus office drones. Braden Keir, Ben Landau, James Secombe, Brittany Veitch.

Transdisciplinary practice
Brittany describes transdisciplinary practice as a ‘cross-pollination of skills and ideas. From this emerges a different way of thinking about design. I am comfortable being a transdisciplinary practitioner and will work on multiple projects focused on different skills and media as an effective motivational tool to produce a steady flow of work outcomes. Being able to switch from video to CAD to sewing is very liberating and enables a thorough investigation and exploration of ideas.’

Brittany’s advice for students planning on entering the design community, particularly that of industrial design, is to ‘get involved by entering competitions or by participating in collectives. Be active and open and never be afraid to experiment.’

Kate McCurdy

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Andrew Gordon

Supervising Animator – Pixar Animation Studios

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© Disney/Pixar

© Disney/Pixar

In recent years, animation has made the leap from 2D cartoon to 3D feature film. Always in the front line, Pixar Animation Studios have kept up a stream of memorable masterpieces and the good work keeps on coming. They seem so busy that it is surprising that they have time to leave the studio at all, so when Andrew Gordon, Supervising Animator at Pixar Animation Studios, was recently in Melbourne to undertake the second Autodesk Animation Workshop, Kate McCurdy took the opportunity to explore a few key points.

Beginnings at Pixar
Andrew Gordon joined Pixar in 1997 as an animator on their second feature film A Bug’s Life. Since then he has worked on every Pixar film including significant work in Toy Story 2, Monsters Inc., Finding Nemo, The Incredibles, Cars and Ratatouille. He has most recently worked as supervising animator for Pixar’s new original short film, which will be released theatrically with WALL•E later this year.

The process of characterisation
While Gordon admits to having what may be called an ‘animators’ box of tricks, such as canned gestures, cadence of walks, as well as hand and mouth shapes; a lot of his characterisations come from his own improvising. When approaching a new project, he explains that he will take a day or two to plan and think about the aims, goals, thematic elements such as comedy, and the entertainment value. He will often film himself acting, for example, he will put on skiboots and walk around in an exaggerated fashion to see how it may affect the character. Gordon says that, for him, the most important thing to do first when constructing a character is to ‘get the walk’.

© Disney/Pixar

© Disney/Pixar

Quality assurance
Andrew Gordon believes that Disney animation has historically had a definitive style and the high level of quality has been maintained by the animators. Similarly, Pixar’s strong creative style and direction that has become familiar with audiences ever since the release of Toy Story is largely due John Lasseter. Lasseter, chief creative officer of Pixar and Disney Animation Studios and principal creative advisor at Walt Disney Imagineering, trained with Disney animators and brought with him the strong attention to detail and quality to his work and the team at Pixar.

Above all, Gordon believes that a ‘good story’ makes a good film, and that animated films these days are becoming increasingly adult which gives them a further enduring quality. He is also a firm believer in the films having a message, and he would apply this principle to his own films which he hopes to direct in the future. He would very much like to make short films with his own ideas, because right now while he enjoys the projects that he’s working on, ‘they’re all based on someone else’s ideas, not your own’. He’s very interested in period pieces from the 1920s, but ultimately it comes back to a good story plus interesting, funny characters with some depth to them.

© Disney/Pixar

© Disney/Pixar

Animation education – workshops and blogs
Having taught animation since 2000, Gordon is no stranger to the teacher’s role. When he’s not animating or after a project wraps, he enjoys travelling, taking his message of style and substance to animation students and professionals worldwide. He recalls that his best experiences as a student was getting information from ‘the people who are doing it’, and he feels now like he is able to give something back with the workshops, as well as his collaborative blog SplineDoctors.

© Disney/Pixar

© Disney/Pixar

SplineDoctors
SplineDoctors is a blog founded by a number of prominent animators at Pixar, including Andrew Gordon and dedicated to animation education. The blog includes links, videos, and also podcasts or ‘SplineCasts’ to which anyone can subscribe. Brad Bird, writer and director of Pixar films The Incredibles and Ratatouille, is an enthusiastic supporter of the development of Splinedoctors.
The SplineCasts include interviews with Brad Bird; Dr. Ed Catmull, co-founder of Pixar Animation Studios and president of Pixar and Disney Animation Studios; Andrew Stanton, writer, director and animator of Finding Nemo and the upcoming WALL•E; Pete Doctor, writer and director of Monsters Inc.; as well as ’roundtable’ discussions with Andrew Gordon and other animators associated with Pixar. Frequently updated with new podcasts and blog items, Splinedoctors is an inspiring and priceless resource for animation students and professionals alike.

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TOYGIANTS

Book review

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© TOYGIANTS

© TOYGIANTS

Toygiants is a celebration of toys: the culture, the passion, the obsession.

While the Toygiants project has taken more than four years to complete, the content is the result of a lifetime of meticulous collecting. Selim Varol is the owner of one the largest toy collections in Europe, and perhaps the world, with more than 10,000 individual pieces to his name. After happening upon a shop window which displayed a number of the pieces from the collection, photographers Daniel and Geo Fuchs had to know more about Selim’s obsession for toys.
What followed was the start of a strong friendship between the Fuchs and Selim, one which Selim says has ‘greatly impacted the development and direction of [his] collection’. He describes the time they spent together photographing the toys as ‘imbued with an aura of childlike intimacy where no one else was permitted’. The end product of the book – and accompanying exhibition – however, draws the reader in and demands their involvement; by rekindling childhood memories of their own toys, or touching on the cult following of film characters and icons, or by simply blowing their minds through the sheer spectacle of some of the compositions.

Toygiants takes you on a journey through the fascination of toy design, from the more conventional dolls such as Barbie and Blythe, to the increasingly popular designer vinyl craze sweeping the globe. There are superheroes from the comic book worlds, such as Superman, Spiderman, Batman, Wonder Woman and Hell Boy, as well as the cast from Sin City, albeit characters from the feature film version of the graphic novel. Movie characters abound, from the usual suspects of Star Wars and Star Trek, to the more unconventional such as Uma Thurman as The Bride in Quentin Tarantino’s Kill Bill (as well as Tarantino himself), Al Pacino as Scarface, Bruce Willis as Die Hard‘s John McClane and Sly Stallone’s Rambo.

What really stands out in Toygiants is the opening ‘sequence’ of images, a politically charged and alarming display of toys that unbelievably do exist. The first toy to take the stage, is that of George W. Bush, in full US Air Force gear, complete with interchangeable hands so that he can give the thumbs up to the troops. What follows is a sinister exploration of a real life game of heroes and villains: an extreme close up of Bush is placed in a double page spread with Osama Bin Laden. More portraits of world figures follow, from the revolutionary Che Guevaro, Fidel Castro and Abraham Lincoln, to the more notorious faces of Saddam Hussein, and Adolf Hitler.
The Hitler sequence begins with an extreme close-up, followed by what may be deemed fantastic poses including the figure of Hitler playing with Star Wars ships, to having his head in the jaws of a dinosaur, to being subjected to the sadistic whims of mutants. The imagination and invention of the compositions of the group shots elevate the objects out of their packaging and the toybox, and brings them to life: whether it’s Andy Warhol in the barber’s chair (hair by Edward Scissorhands), or colour-coded designer vinyl toy group compositions on long fold-out pages, or the extreme close-up portraits that allow you to become closer to the toys than you thought was possible.

© TOYGIANTS

© TOYGIANTS

Toygiants also shows that the collector’s bug does not belong solely to Selim, as Daniel and Geo Fuchs are collectors in their own right. Using their camera to collect, ‘they do not view these extremely disparate collections in a conventional way, but rather see archiving, or placing an order of particular things that interest them, as photogenic landscapes,’ observes Dr. Eugen Blume, Director of the Nationalgalerie in Hamburger Bahnof – Museum für Gegenwart, Berlin. He believes that their aim is to ‘conserve the world in absolute detail’, and that’s just what they have done with the world of toys in Toygiants. This is especially the case for the accompanying exhibition at the Rebel Arts Gallery, Hamburg, which includes an oversized 4 x 5.5 metre groupshot, as well as a selection of enlarged portraits. At this size, the toys command the exhibition space and become powerful images, and indeed works of art, in their own right.

By making the decision not to include captions to help illustrate each of the figures in the book, Toygiants does rely a little too heavily on the pop culture knowledge of its reader, and in some instances can distance those who may be new to this toy world. But when examined for what it is, a photographic collection of toys as you’ve never seen them before, this book is truly a collector’s item in itself.

TOYGIANTS Silver Edition contains invaluable extras such as interviews with Daniel and Geo Fuchs, as well as a removable poster of one of the group shots.

Kate McCurdy

© TOYGIANTS

© TOYGIANTS

Daniel and Geo Fuchs
TOYGIANTS Silver Edition
Gingko Press
Release date: 5 April 2008
ISBN: 978-1-58423-284-1
Format: 320 mm x 250 mm, Number of pages: 212 + 4 Fold-Outs, Hardcover in plastic cover with silkscreen, Removable poster: 305 x 960 mm
RRP: 45 euros / $49
Exhibition: Daniel & Geo Fuchs TOYGIANTS
Rebel Arts Gallery Hamburg in cooperation with artempus con-temporary gallery Düsseldorf
from April 26 – July 31 2008

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Further information
Daniel and Geo Fuchs

Gingko Press

Creative Hong Kong in London

‘designed in Hong Kong’  is shaping global creativity

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Hong Kong designers bring a feast of world class design to London.

In a capital city famous for its long and all-embracing relationship with design, this celebration of the work of leading Hong Kong designers took place in three well-known venues – Harvey Nichols, a British department store in Knightsbridge (now owned by a Hong Kong enterprise), the Design Museum, and the London Business School.

The campaign entitled Creative Hong Kong in London, was launched at Harvey Nichols with a collaborative exhibition of ten world renowned brands and ten accomplished Hong Kong designers who drew inspiration for their designs from the 10th anniversary (1 July 2007) of Hong Kong’s reunification with China. Products designed included a Chinese dining setting, a hi-fi system, fashion accessories, a watch, and a unique ‘treasure box’. Designer/brand collaborations included Gary Chang and Alessi (Treasure Box for Urban Nomads), Vivienne Tam and Georg Jensen (8S),  Barney Cheng and LeSportsac (Brilliant Beauty), Lo Chi Wing and KEF(Stringless Pleasure), Michael Young and o.d.m (Euclide), and Alan Chan and Salvatore Ferragamo (Hong Kong My Love). Limited edition products were also on sale.

© Alan Chan and Salvatore Ferragamo, courtesy of Hong Kong Creative in London

© Alan Chan and Salvatore Ferragamo, courtesy of Hong Kong Creative in London

An expanded exhibition at the Design Museum featured the ten world brands and almost 100 Hong Kong design cases covering a wide range of categories, such as graphics, communications, fashion, environment, product and interactive design. In partnership with the London Business School, a one day symposium explored Hong Kong’s global influence on design and business, at both an economic and creative level.

The Hong Kong Design Centre which organized the expo has, since 1997, worked to promote design excellence. It is dedicated to helping local designers and businesses to realise their full potential. While offering a diverse range of programmes and events each year, it also takes a leadership role in promoting design as a strategic, value-enhancing constituent of business, to government, industry, business partners, educational institutions and private organizations. At the same time, the centre works to promote the importance of design in contributing to a better quality of life.

© Gary Chang and Alessi, courtesy of Hong Kong Creative in London

© Gary Chang and Alessi, courtesy of Hong Kong Creative in London

Leading Hong Kong designers participating in the expo included Chelsai Lau, Chief Designer at Ford Motor Company, Raman Hui, Co-Director of Shrek, Vivienne Tam, New York based fashion designer, and Kai-Yin Lo, internationally acclaimed jewellery designer.

Chelsai Lau has led the design and development teams to create some of the most successful vehicles at Ford. It was during a three months’ internship with Ford that she discovered a passion for automotive design, officially joining Ford in 1992. She went on to design the exterior and interior of the Mercury MC4 (1997), a world class concept vehicle, the Ford FC5 (1999), a fuel cell concept vehicle, the Sport Trac show vehicle (2005). She is also responsible for shaping the design direction of Ford’s Sport Utility Vehicles (SUV) representing an annual volume exceeding half a million units.

Raman Hui, is a talented animator and director, and although he is best known as the co-director of Shrek 3 (2007), his experience in the animation industry is extensive. He started working full time at PDI in 1989 (later acquired by Dreamworks) where he worked on many 3D characters such as computer-generated Mickey Mouse for Jim Henson’s Muppetvision. On Sleepy Guy (1994), he is credited with the writing, direction and production. He has also worked as animator and supervising animator on a number of other well-known productions including ANTZ (1998), Shrek (2001) and Shrek 2 (2004), and Madagascar (2005).

Vivienne Tam is the CEO and chief designer for East Wind Code Ltd, based in New York. She is an internationally recognized fashion designer famous for her Eastern inspired clothing with a modern edge. In 1995, her ‘Mao’ collection successfully combined fashion with art. She followed ‘Mao’ with her ‘Buddha’ collection which was bought by the public and celebrities around the world. Her exploration of Asian motifs has been an integral part of the development of the fashion phenomenon ‘China Chic’. Pieces of her collections have been acquired by the Andy Warhol Museum in Pittsburgh, The Museum of FIT, the Metropolitan Museum of Art in New York, and the Victoria and Albert Museum in London.

© Vivienne Tam and Georg Jense, courtesy of Hong Kong Creative in London

© Vivienne Tam and Georg Jense, courtesy of Hong Kong Creative in London

Kai-Yin Lo is recognized internationally as an innovative jewellery designer. The heritage of Chinese arts and culture directly informs her design work and she successfully uses contemporary style and semi-precious stones to transform traditional Chinese jewellery. Her first designs, using Chinese jades and semi-precious stones so impressed Cartier in New York that they bought the entire collection. Kai-Yin Lo’s jewellery collections have been sold in major stores in the United States, Asia and Europe. She now concentrates on niche collections presented in exclusive shows at venues such as the Asia Society, New York, and the Asian Art Museum, San Francisco.

Anne Paterson

Creative Hong Kong in London
28 May – 12 June 2008
Harvey Nichols, Design Museum and London Business School

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Emily Gobeille

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Body Language – still frame

Body Language – still frame

Emily Gobeille is an art director and designer currently working in the motion graphics industry. Her recent project, ‘Funky Forest’ is a immediately engaging, interactive and brightly-coloured experience. Kate McCurdy spoke with Emily to learn about the artist’s drive and passion for designing for children.

Autumnal beginnings
Emily grew up in a small town in Connecticut, among lots of cows, cornfields and apple orchards. She recalls that ‘growing up in New England where the seasons change in a very definite and visual way fostered my love for every bit of design in nature – and also my love of cranberry juice.’
In 1996 Emily moved to Boston where she received a BFA from the Massachusetts College of Art and Design with a concentration in graphic and interaction design. At MassArt, an institution known for their solid design program, she learned the fundamentals such as design principles, colour theory, and typography. After graduating she worked for three years as a print and interactive designer with companies including Razorfish and Big Blue Dot, a studio specialising in design for children. Keen to work on her own projects again, Emily moved to New York to attend the Design and Technology MFA program at Parson’s School of Design. At Parsons she was able to focus on designing interactive systems within a narrative context and also found a love for motion graphics.

Thesis project – Walking sequence board

Thesis project – Walking sequence board

Thesis project
As part of her MFA, Emily completed a thesis project using the DVD as a medium for interactivity in order to make education for children fun.
The goal of her thesis project was to create a narrative experience for children aged 3-5 that was entertaining, provided an opportunity for autonomous choice-making and was a platform for learning.
‘I developed an interactive DVD fable called The Best Fort Ever. The overarching story is about the character’s quest to find the Great Inventor. The project’s main story is broken down into smaller sub-story sequences, each containing its own lesson, connected by the branching narrative thread. These smaller chunks were more manageable for young children’s attention span and also allow for changes in tempo, interaction and style.’
For this project Emily wrote a branching narrative, built the puppet characters, shot them on greenscreen and then composited them into her animated designs.
The illustrations in children’s literature were a major inspiration for this project.
‘I wanted to create visual worlds that were memorable and captivating. The variety of visual treatments also function as cues for the user in the story and for pacing purposes.’
In this sense, the DVD seemed the perfect medium for Emily’s thesis project. She felt that its potential for interactivity had not yet been exploited. The greatest advantages of the DVD were that as a medium it is familiar and accessible to children without requiring adult supervision, as well as being able to support rich audio and graphics without any load time.

Funky Forest
The ‘Funky Forest’ was produced as a collaborative project with Theodore Watson. Emily and Theodore created an immersive, interactive ecosystem where children manage a virtual forest by creating trees with their bodies, and then divert and dam water flowing from the digital waterfall to feed the forest. The types of sounds and creatures that inhabit the forest depend on the amount of water the forest receives. Their goal was to create an open system that would allow children to play and see how their actions affect the ecosystem.
‘Funky Forest’ made its debut at the 2007 Cinekid Festival in Amsterdam. After working on the project for two weeks straight, they were astonished at the positive reaction from the kids when they first entered the space.
‘[The children] loved it. They even realised that the creatures would fly away when they got too close and spent hours trying to trap them.’

Funky Forest – trees take the shape of your body

Funky Forest – trees take the shape of your body

‘Funky Forest’ has been Emily’s favourite project so far, as she was able to experience seeing the first-hand the children’s reactions to their project.
‘It was incredibly rewarding to see kids really playing – and in ways that we could not have imagined. For some it was quiet exploration and at other times there were 18-20 frantic kids in the space with a team managing the water, a team creating trees and a few “managers” telling the teams where trees and water were needed.’
Being able to accomplish this project from what Theodore and Emily had imagined together has been very satisfying for them both, as well as inspirational, and Version 2.0 is now in the works! A video of ‘Funky Forest’ in action can be viewed on Emily’s website, zanyparade.com.

Funky Forest

Funky Forest

An ongoing creative collaboration
Emily continues to foster her drive to develop fun teaching tools for children, as is shown by her recent collaborative project – again with Theodore Watson – an experimental poster series entitled ‘Here to There’. ‘Jungle’ and ‘City’ are the first two in the series for children that combine science, nature, algorithm and design to feed their imagination and curiosity.
Emily’s motivation for the series stems from her own childhood memories.
‘We remember in detail the pictures, paintings and patterns that were on the walls around us as we grew up. We realised that this long-term access to a child’s attention is a great opportunity to introduce concepts of mathematics, design and narrative in a fun, intuitive and visual way.’
Emily and Theodore developed a suite of software tools to programmatically build elements based around concepts of algorithm, permutation, cause and effect, and topology. These elements are the building blocks for the different worlds and become a part of the stories being told. The programmatic-designed elements are mixed with hand-illustrated forms and quirky creatures to create a bizarre hybrid world that talks to both hemispheres of the brain.

‘Theodore and I really enjoy working together and I think we learn a lot from one another’, Emily says. ‘We share a similar enthusiasm and excitement when it comes to seeing an idea through to its solution. Because our approaches to problems and strengths are different, we’re able to bounce off each other and end up somewhere where we could not have gotten on our own. We have some awesome brainstorming sessions and just need to find the time to make all of our ideas.’

Inspiration
When asked whose work inspires her own projects, and whom she aspires to, Emily acknowledges two artists in particular.
‘The kinetic sculptor Arthur Ganson has always been an inspiration to me. There is a quality to his work that I love. It is whimsical, mechanical, intricate, delicate, graceful and often quite funny. And of course Jim Henson has been a huge influence on me. I would love for my work to create a similar feeling of wonder and delight for people.’ As well as artists, Emily cannot ignore the influence of her growing up on her work.
‘I’m definitely inspired by nature and I love warm colours and texture. I’ve tried not to have a distinct style, but as much as I try to avoid it, there are some recurring themes and elements that keep popping up in my work: trees, birds, bicycles, sneakers, weather – all of the things I’m obsessed with. Maybe I should embrace it and see what happens.’

The process – from paper to the screen
Emily is very much a ‘paper person’, and she always starts designing on paper, rather than going straight to the computer. She keeps a lot of sketchbooks and paper around her so that she can jot down ideas and working things out throughout the design process.
‘I find it easier to get ideas down quickly without getting too caught up in the details,’ she says. ‘For me it’s important to get away from the computer screen, especially during the early design stages.’
Emily explains how the story behind each project develops with the design process.
‘While I’m working on a project I tend to make up stories about the design. It makes it fun for me and helps when I know I’ll be sitting in front of the computer for the next ten hours. I think that’s when all of the quirky details come out – because they are part of the story.’

Here to There – Jungle – poster series for children.

Here to There – Jungle – poster series for children.

Up ahead
Emily has three new projects in the works. The first is another collaborative project with Theodore, which explores the way that people communicate with nature, and will make its debut mid-year at the Riviera Gallery in Brooklyn. Emily also has two projects of her own which both contain themes of the body, what it’s made up of and how it moves. ‘Inside Out’ investigates the human body, while ‘Body Language’ is a short film about a journey and mood and communication through body language.

Foremost in her work is Emily’s passion for children and seeking to engage them in an entertaining and educational way, and this is sure to continue to inform her work into the future.
‘I love the way that children approach the world,’ she says. ‘There is something amazing about the way their imagination flows between fantasy and their perception of reality. There is little hesitation when approaching something new or tackling a problem. What I love about designing for children is that opportunity to tell a story and provide a space for learning where they can create their own rules and logic. I also find it to be the most rewarding.’

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Bill Viola – The Tristan Project

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‘I thought, this is a man who could cope with Wagner, who operates with these incredibly long arcs and spans of time … And underneath an apparently static surface, there is a whole subculture of torrents and energies flowing’.
(Esa-Pekka Salonen, musical director, Los Angeles Philarmonic, commenting on the choice of Bill Viola for The Tristan Project)

Bill Viola, Fire Woman, courtesy of the Art Gallery of New South Wales

Bill Viola, 'Fire Woman', courtesy of the Art Gallery of New South Wales

Richard Wagner (1813-1883) composed 13 operas or ‘music dramas’  in his lifetime. His idea of a Gesamtkunstwerk (‘total artwork’) presented the classical music world of the times with a new way of thinking about opera. Wagner saw opera as a complex combination of poetry, visuals, music and dramatic arts. Tristan and Isolde, a four and a half hour work, was composed in 1865. It tells the story of a medieval myth, about a pair of doomed lovers. Their love is so intense and profound that it cannot be contained in their material bodies. To realise their love, Tristan and Isolde must ultimately transcend life itself.

The Tristan Project brings together all the elements of Wagner’s Gesamtkunstwerk in an extraordinary partnership of music, theatre, and video artistry, talent and expertise.  Los Angeles Philharmonic music director, Esa-Pekka Salonen and theatre director, Peter Sellars, teamed with video artist Bill Viola to create a spectacular production of this epic story.

‘Wagner was trying to create “the artwork of the future”,’ describes Peter Sellars, ‘an experience that we’re beginning to have the technology to realise’.
The artist chosen to interpret the imagery of this opera for a 21st century audience was Bill Viola, whose has a 30 year career using the medium of video to portray the human condition in its many emotional forms.

In 1998, at the Getty Research Institute, Viola studied the conventions of expression with the objective of choosing how to represent human passions. Viola’s own study of mystical Asian literature and the spiritual traditions Zen Buddhism, lead him to research medieval devotion and the depiction of emotion in the history of art. Viola also explored religious works of the 15th and 16th centuries. He was particularly attracted to the portrayal of emotional extremes in these works, at moments recognized as life milestones – birth, love and death. Tristan and Isolde is about the extremes of love and death, where the act of love triumphs over death. Viola has commented that the sexual act of love between a man and a woman, and the technology we now have to record human emotions, are the only ways humans can defy death.

Bill Viola, The Plunge, courtesy of the Art Gallery of New South Wales

Bill Viola, 'The Plunge', courtesy of the Art Gallery of New South Wales

Bill Viola’s art reflects of an ongoing fascination with the relationship between an individual’s inner self and the experience of his body. His own life experiences are central in his work – a near-drowning experience as a child had a dramatic impact on Viola. As a result, many of his works use water dropping slowly, cascading, or submerging his human subjects. But, perhaps the strongest component of Bill Viola’s video artworks, which makes them so compelling, is that they have a sharply contrasting quality to the pace the 21st century;  they ‘stay in the moment’. The use of very slow motion video techniques, presents a place between ‘not still’ or ‘at the movies’. Viola believes that ‘images have life because they are untethered and floating’ – when you keep the camera still, time is unfolding as a continuous process, and passion moves in an emotional wave as it wells up and passes through a person.

Bill Viola, Tristans Ascension, courtesy of the Art Gallery of New South Wales

Bill Viola, 'Tristan's Ascension', courtesy of the Art Gallery of New South Wales

The Tristan Project  at the Art Gallery of New South Wales is represented by three major videos: Fire Woman (2005), Tristan’s Ascension (The Sound of a Mountain Under a Waterfall) (2005), and The Fall into Paradise (2005). These large vertical projection installations with surround sound are powerful works which are capable of sweeping us up on a emotional tidal wave where we can linger, suspended in time.

Anne Paterson

Bill Viola: The Tristan Project
The Fall into Paradise, 2005
Art Gallery of New South Wales
10 April to 27 July 2008
Bill Viola: The Tristan Project
Fire Woman and Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), 2005
at St Saviour’s Church, Redfern
Kaldor Art Project in conjunction with St Saviour’s Church
9 April to 23 May 2008, 6.30pm-10.30pm
Free admission

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