Recently we received a link of a music video from a friend of ours. It’s really cool! We favored it on our YouTube channel. After watching this video I can’t help but remembering back in the early 90′s, while I was only a freshman at Cooper, during a 3D Design class, we had an assignment to design an installation to move an object without using hands. My solution to this assignment had become a process to turn a fresh pineapple into a canned pineapple… without the expense of a factory. So my friend Victor, who was my partner for this assignment, and I together built something very simple, trying to achieve the schematic in the picture below. It sort of worked–We needed more time to plan and design the perfect mechanism… But let’s get real: it was only a college assignment with limited time and resources. (Classmates: remember this one?)

Rough sketch of one of my projects in 3DD @ Cooper, freshman year

The grand meaning behind this small project was a sarcastic expression of protesting against the food industry in the United States–Where every natural thing turned into processed canned goods… As for the execution– Was I inspired by Rube Goldberg? Maybe… I can’t say that for sure. But I can say this: At the time, while commuting to NYC daily to school, I walked pass a sculpted public art in the Port Authority terminal, which gave me the inspiration. Also at the time, I only lived in the U.S. for about 6 years, still in the cultural shock, so I really didn’t know who Rube Goldberg was. :-[

In 2003. Honda produced a multi-award winning commercial: The Cog. That was so satisfying to watch… Simply amazing! That was one of the most expensive commercial to make. I heard it took something like 150 takes to get it right version… Yikes!

Maybe one of these days, I’ll really fully execute the idea that I had back in 1991. (Dream on!)

Let’s start with the symbol.
The rectangle with a high-contrast white radiating circle seemed to mean a rising sun, which can be a very nice concept for a tax services company. However, the drawing of the radiating circle utilized straight and diagonal lines, which gave it a very industrial look—inappropriate for tax services. Therefore the execution needs improvement, so it would look more like a rising sun than a bunch of metal wires and steel pipes.

The Font Choice
“Impact” is a versatile, condensed font that is very heavy in its weight. It has been known as an attention getter, often appears in posters for that reason. For its heavy weight and rectangular shaped letters with rounded corners, resembling basic industrial elements, it is suitable for headlines and masculine subjects, such as sports and news.  If a brand chooses this font, this brand must be masculine, heavy duty, solid, etc… Black & Decker is a successful example to use Impact in their brand. How Jackson Hewitt arrived the decision to use this font in their brand, I have no clue. But surely the name “Jack”son wouldn’t help presenting the brand image closer to being a tax services company, when it’s set using Impact.

The Colors
Jackson Hewitt chose 2 very bright, basic, primary, masculine and high-contrast colors—black and red—to represent their tax service brand, which is another mistake.

Tax service is money matter.  Money matter is neutral, unemotional and universal. So it should avoid using bright and primary colors to communicate money. Green is a good color for money, especially for use within the United States because of its currency colors. If Jackson Hewitt tax service company would use green and gray in their branding system, there would be an excellent marketing opportunity to connect “Jackson” Hewitt with money matters using $20 bills… (Take a look at your $20 bill, President Andrew “Jackson” is looking at you!)  In Jackson Hewitt’s case, having “Jackson” being a part of their company name is God’s given gift for promotional marketing! Pity no one saw this connection!

Let’s look at Black & Decker again: It has black and orange in their logo. Husky doesn’t always use 2 colors in their logo but they use black and red throughout their brand system—Same as Jackson Hewitt!  Both Black & Decker and Husky use black and a warm color in their branding systems and both are successful power tool companies. When a branding system works, it sticks in people’s mind. That’s why when I first saw Jackson Hewitt, I thought it was a hardware store selling power tools.

Here’s a visualization of what I thought Jackson Hewitt logo should say:

P.S. Just recently, I found out Jackson Hewitt has filed Chapter 11… Do you think that’s got something to do with their brand? Maybe… Indirectly?

But recently, we were told to design the graphic packaging within the MTV brand, setup by the in-house design department, which required original footage, and pretty much banned all computer generated graphics, and required the content/show footage be the dominant element in the graphic packaging… Which meant we couldn’t do it with the same design process as before. The only time the production would utilize graphics would be in the end title…

Here’s an excerpt from MTV On-Air Show Packaging Style Guide: “…select powerful, meaningful…images and build a strong graphic language using well-designed typography that elevates the content and conveys the story… All design decisions should…avoid the graphic gymnastics and 3D renderings of the past…”

In order to be compliant to our client’s brand, we were required to produce original material… This project was an unprecedented production process for us, but we welcomed the challenge. With our graphic design background, we designed the end title/logo with a twist of Hard Rock Hotel, where the casts lived while in Vegas. We shot original footage of the Vegas neon lights, cast headshots and time-lapse of the stage being built.

During the time-lapse shoot, we had 2 photographers, one shot the floor scenes and the other sat in the cat walk, taking the overhead shots. We tried to shoot the stage in an angle similar to the jib camera that begins the show, which would enable our opening graphic to work seamlessly into the host’s introduction… But we could only shoot from the cat walk, which was at the left side of the stage. So we centered the shots on the blue circle, and the result was not too bad.

The time lapse and the neon lights were our favorite part of our production process. In the end, we think it all came out alright.

For this season’s “The S#!% They Should’ve Shown” special, which premiered the week after the “Reunion” premiered, we showed, in the opening sequence, primarily the unseen footage they were going to talk about. For transitional and title parts of the sequence, we used the franchised keyhole/eyeball graphic and the Vegas neon footage that we shot. So the creative end of this piece was more straight forward compared to the “Reunion” opening. We did, however, add production value by composite the Vegas neon footage into an HD grid using a simple element of repetition and time-offset effect. These neon light footage, thus became beautiful, abstract, animated patterns that juxtaposed the circular symmetric and concentric iris theme.

“The Real World Las Vegas Reunion” premiered on June 8, and “The S#!% They Should’ve Shown” premiered on June 15.

A very nice, well crafted, classic, memorable logo for Devlin Pix

Our friend and independent film director, Paul Devlin, incorporated his documentary film company, Devlin Pix, in the beginning of this year. Along with the event, he had his company’s new logo/symbol designed by a talented designer, Drew Zimmerman.

The number one reason why we liked this logo is because of its simplicity. The designer has boiled down the words “Devlin Pix” to its most simple form, while adding unique qualities to the individual letters D & P to make this symbol harmoniously represent the company’s core function.

The lower case of letters D & P just happened to be the upside-down form of each other. The designer saw and utilized this opportunity to create a symmetrical, visually balanced symbol. The ascender of the D & the descender of the P were strategically drawn, “sliced” and positioned so they subtly suggest film strips on a projector and/or reels of film.

The color chosen for the logo, in my opinion, is a true reflection of Paul’s personality–a peaceful cool bluish gray for a quiet, intelligent, cool guy.

This is a very nice, well crafted, classic, memorable logo for Devlin Pix. Congratulations, Paul!

Go to our website to see more of our After Effects work:  http://www.artifactuality.com/gallery.html

The extreme adventure science documentary BLAST! directed by our esteemed colleague Paul Devlin comes to New York the first time from June 11th to 18th. We created the graphics package and maps that helped telling this heroic story of the pursuit of scientific truth. With cutting edge technology in very cold places, BLAST! supplied plenty of real life thrills as well as a rare glimpse into the personal thoughts and beliefs of the scientists who dedicated their lives to the journey…

Congratulations to Paul and the entire BLAST team. The film is absolutely worth seeing for adventurers, philosophers, filmmakers, and any one who has an interest in the question of where it all came from.

BLAST! has been seen and well received around the world. Go to www.blastthemovie.com for more information, including the trailer and the upcoming screening schedule in IFC Center and Cinema Village.

Here’s our opening graphic and “how it works” sequence, part of many things we did for this film.

Originally we mixed a funky street beat for the Brooklyn Reunion Special graphic package. But never knew that they were trying to get a license from Duran Duran! I guess if they didn’t get it, at least they’d have our remix to fall back on…

“Notorious” worked out so well too!  Very excited to see our graphic played out with the song. Check it out on MTV.com.

By the way, did I say that I recently got the autographs from Duran’s Simon John & Nick? (Don’t mean to rub it in… Ha!)

If I didn’t care about making a drawing beautiful, I probably would spend much less time and do an OK job and the work would be finished and the client would still be happy with it. But because I care, I spend more time to make it perfect, the drawing came out exquisite. (Shown here is a detail of the drawing.)

Christine's illustration from a stock photo

We don’t sell sandwiches like Gigi next door. We don’t cut hair like Rich on the other side of the building. We come up with creative concepts, fresh ideas, make drawings, we take photographs, we make designs and images… But they still said: That’s… great… But WHAT DO YOU DO? We had people telling us that “you need to communicate in the words that people would understand.” So we do. We communicate and talk about our work through our email blasts– film, video, tv, design, drawing, photography… We do ALL THAT. We had people telling us that our emails lack focus. because we do ALL THAT…

WE ARE ARTISTS and DESIGNERS and not anything else. Here’s a stereotypical concept of what an artist does: “An artist makes pretty things, frivolous things, make paintings and do other money making things like waiting a table or selling houses in order to make a living…” That’s what my grandpa said. That’s what my father said. And that’s why my artistic brothers had to change their careers to “make a living” and support a family.  Bob and I are artists, we are who we are, we are passionate for what we do and nothing can change that!

Our creative brain and our artistic skilled crafts are the core essence that contributes to what we do. We take these ideas, develop into visual images and then implement these imagery into different media and applications – film, video, television, website, printed materials, logos, corporate identity, you name it… That’s what we do.

“So Artifactuality is a design company that design graphics for film and TV… Sometimes for logos and identity packages… Then why do you take the roundabout way to explain it?”

The key word is CONCEPT. That is what distinguishes us from those who pretend to be designers only because they know how to use a Mac and dress cool to impress others.

One of our design idols are Lou Dorfsman–the master of corporate identity.  For CBS, he invented a “good design” that works–the eye that witness the truth–A solid CONCEPT behind the symbol of journalism, a classic icon that lasts forever because it fits the client’s purpose… I refuse to say Lou Dorfsman “branded” CBS only because “branding” is a new catchword that I think is less than 20 years old. His work was done before the word “branding” was even heard of aside from the references of marking a livestock. Lou Dorfsman simply “designed” a good symbol with a flawless identity system with a solid CONCEPT and implemented it throughout the entire corporation.  His work set a great example for later generations who studied “corporate identity” subject in design schools.   But for some reason, the word “branding” started to come up in the 90′s to replace the idea of “corporate identity.”  And “corporate identity” was then demoted to be only the logo design, the business cards and the stationery design… Why? When I was in design school, “corporate identity” was a designed system that covered everything from the logo to the memo pad to the coffee mug and matchbooks… What happened here?

Anyway, to conclude this blog entry, Artifactuality is composed of 2 artists (me and Bob) with lots of creative ideas and we make images and designs with solid concept that can be implemented into vast variety of media–because we create beautiful things for our clients and we make sure they work for our clients… that’s what we do.