In collaboration with Rapp UK, and Illustrator Polyp, my role on this project was to produce a digital version of the novel, to be featured on the Co-operative website.
Working with creative agency Whitespace, illustrator Johanna Basford, and photographer Jakub Iwanicki, my role was to ‘stitch’ together the time-lapsed footage and create the animated elements of the piece.
In collaboration with Antbits, I produced these non-Flash versions of the widgets, using HTML, XML, CSS, Javascript and jQuery, designed to be viewable on the increasing number of devices which cannot view Flash content.
Flash widgets for the web have a natural (and well established) workflow, which enable them to be built and embedded by a designer, independent from the web page around them.
This presented a new challenge, as we had to establish a similarly natural way to embed Javascript widgets which allow them to be deployed and updated quickly (separate from the often long lead times that can be required for “everyday” web development tasks).
The widgets have now been built in such a way that they can be “embedded” anywhere on a page using just a few lines of code, similar to the way we would embed Flash content.
They can be reused and customised using parameters, all from the same codebase.
NHS were extremely pleased with their first ever rich media web content to be built with web standards, and are planning to commission several more in the future.
A work of user-generated animation, the app gave users a chance to upload their own face and see themselves reciting the famous Robert Burns poem, “Address to a Haggis”.
Working with the Whitespace design team, I was faced* with the task of bringing the storyboard for the poetry sequence to life, as well as the development of the facial upload interface itself.
To add to that, the project had be turned around in little over a week to get the finished piece out in time for the Burns Night celebrations.
The interactive animation was created using Adobe Flash, (currently the only feasible technology with which this kind of functionality can be achieved) making heavy use of the inverse kinematics tools to animated the puppets in the poetry sequence.
A deliberately lo-fi art style was used, which thankfully didn’t require complex lip synching. I decided the best approach for this was to move the mouth dynamically, using code to analyse the sound wave and move the jaw accordingly.
*Pun not intended
The client was keen to promote a new sustainability suite on the site, aimed at assisting businesses with their sustainability policy. This showreel demonstrates how easy the tool is use and the benefits it can offer.
Since this is a passive piece, using no interactive elements, it was developed fully using Photoshop and After Effects.
Screenshots were taken from the tool itself and cut up into layers. These layers were imported into After Effects and composited together to simulate the tool’s interaction sequences. It was important to keep the showreel fast moving and interesting to keep the viewer’s interest.
The showreel was well received when it was integrated onto the sustainability website, and was also taken on the road and used as part of the display on several trade show appearances.
They are an adventurous client, always seeking new and interesting ways to appeal to their audience, while also moving their brand onwards.
My role on these campaigns has varied between visual design, motion design, and interface design. Many of the ads involve intricate animation sequences, where special scripting libraries are used to produce physics and 3d graphic effects.
Deliverable assets were a mix of Flash files or video files, depending on the requirements of the media being targeted.
These digital campaigns have been featured on many of the top news media sites in the UK, including The Times, Telegraph, and Yahoo! The digital outdoor campaigns have been featured in some of the UK’s major transport hubs, including the London Underground.
Creative Zone, a showcase site from publishing platform Mediamind, has featured many of the creatives in their collection.
This is a piece I created for an Edinburgh art event in September 2011.
I used the opportunity to experiment with animation (in particular stop-motion and time-lapse), video editing, and projection mapping.
Buildings are commonly used in projection mapping, but the technique can be applied to any objects or spaces.
My set-up was quite simple, projecting onto a wall of frames, with a row of books underneath.
All the imagery you see in the pieces was created from my own photography – about 300 photographs per piece.
The photos were taken and then stitched together to create the animated objects. These objects were then manipulated digitally, to be synced with the audio track.
There was no programming needed for the main part of the piece, but the light projected onto the books below the frames is live sound spectrum data from the audio track.
This data was processed and turned into a visualisation using Flash.
This is a piece I created for an Edinburgh art event in September 2011.
I used the opportunity to experiment with animation (in particular stop-motion and time-lapse), video editing, and projection mapping.
Buildings are commonly used in projection mapping, but the technique can be applied to any objects or spaces.
My set-up was quite simple, projecting onto a wall of frames, with a row of books underneath.
All the imagery you see in the pieces was created from my own photography – about 300 photographs per piece.
The photos were taken and then stitched together to create the animated objects. These objects were then manipulated digitally, to be synced with the audio track.
There was no programming needed for the main part of the piece, but the light projected onto the books below the frames is live sound spectrum data from the audio track.
This data was processed and turned into a visualisation using Flash.
This is a piece I created for an Edinburgh art event in September 2011.
I used the opportunity to experiment with animation (in particular stop-motion and time-lapse), video editing, and projection mapping.
Buildings are commonly used in projection mapping, but the technique can be applied to any objects or spaces.
My set-up was quite simple, projecting onto a wall of frames, with a row of books underneath.
All the imagery you see in the pieces was created from my own photography – about 300 photographs per piece.
The photos were taken and then stitched together to create the animated objects. These objects were then manipulated digitally, to be synced with the audio track.
There was no programming needed for the main part of the piece, but the light projected onto the books below the frames is live sound spectrum data from the audio track.
This data was processed and turned into a visualisation using Flash.
