• 9.16.15

    War Is Not Child's Play for Ars Thanea

    War is hell. In a culture that romanticizes a certain amount of violence and the gallantry of a soldier, it's easy to forget that every front line is someone's backyard. Battles are fought through streets that are someone's address. Blown out buildings used to be apartments, grocery stores, schools, and before shots were fired there were the banal daily stops of citizens who likely have little to gain from the outcome. 11-Bit Studios and Deep Silver’s highly anticipated game, "This War of Mine: The Little Ones," explores these themes putting the game player into war not with a weapon and armor but controlling the children living under the flying bullets. Animation studio Ars Thanea helped them by cutting together and animating the trailer for the game. 

    The trailer follows a child as he powers through his morning breakfast and goes outside to play. He and his friend build a snowman until it gets knocked over by a closely rumbling tank. It is then that you notice the windows are broken and boarded up. The kids run through the house and pass an injured man sleeping in the shadows. Smoke rises from neighbor’s yards. Guns fire in the distance. The kids still find a way to play, and they act out war. But in this context it is almost against the war that wages around them. The stakes in their game are low, but around them the world is crumbling down.  

    “In war kids are still kids,” the trailer reminds us. In many ways this game has the potential to change the way we think about wartime and the victims, whether or not they’re not hit will bullets. 

    The low contrast, greyed out aesthetic that Ars Thanea employed for the trailer is an extension of the charcoal-stylized look of the game. The original concept came out of real life events in 1992 besieged Sarajevo, but Ars Thanea’s experience of being a Poland based studio primes them uniquely for understanding the cultural power of these themes. The game attempts to explore familiar topics in ways that are perspective shifting, and stylized aesthetics offer the distance to suspend reality and have the player give over to the events of the story. It is one thing to see images of explosions on the nightly news, it’s something else entirely to take on the mantle of a war’s child. 

    This War of Mine: The Little Ones is set to release on PlayStation 4 and Xbox One at the end of January, 2016.

  • 5.22.15

    Effervescent Excitement with Ars Thanea

    If you've never had Orangina, the carbonated orange drink that is mainly found in Europe, here's a tip: Shake it before you drink it. The natural pulp settles, and to really get the full experience, you have to shake it up to get a good mix. But be careful, the effervescence of the juice is compounded by the agitation, so open with care. When you shake it, you can imagine the vortexes your shakes are creating, swishing the juice around and catalyzing a potential explosion. The glass becomes something like Schrödinger’s lightning in a bottle, the anticipation of opening it as exciting as the drink itself. This was the feeling that Ars Thanea plumbed in their latest work with Orangina.

    When the drink company came to Ars Thanea, they knew they wanted the bottles to be shown beautifully, and to use the inherent energy of the drink in the composition, but they let the team at Ars Thanea figure out the details of how everything would come together. Conceptually, the images are inspired by traditional packshots, the photographs we’re used to seeing in milquetoast ads, but Ars Thanea wanted to bring it to another level. In a subtle subversion of convention they used the liquid dynamic of the drink to imply the shape of the bottle as it flew through the air. To achieve this effect they photographed silicone in a variety of different arcs and trajectories and stitched them together in postproduction.

    To bring an extra layer of excitement, Ars Thanea brought in some orange segments to fly around the composition. They worked through a few ideas and finally settled on the high velocity movement of flying pieces. “We wanted to underline the dynamic there,” says Marcin Kowalski of Ars Thanea, explaining how this added piece highlights the flavor and effervescence of the drink. Each element of the images give us an exciting look and feel to the Orangia experience.

  • 4.22.15

    Ars Thanea Explores DuPont's Tasty World

    DuPont is a massive international company whose technological and chemical innovations have spread into almost every industry on the planet. They’ve helped bring humans to moon, developed Kevlar to keep people safe, and even keep our paper as white as possible. Their reach is nearly endless, so it should come as no surprise that their advances have touched the world of food. From added vitamins to preservatives to guiding agricultural advancements increasing crop yield, DuPont is making our culinary experiences richer and more efficient.

    For their latest campaign, DuPont wanted to focus on how they’re benefiting the world of food and teamed up with creative studio Ars Thanea to bring the message to the public. Using the slogan “It’s What’s Inside,” Ars Thanea created a series of images that evoke just that: the world inside our foods. Working with Ogilvy & Mather New York, the series features different prepared dishes with “portals,” or doorways, that imply an inner working to these dishes that DuPont is helping to shape.

    In conversation Marcin Kowalski and Aleksandra Watras of Ars Thanea divulge that when they were presented with the concept of the campaign, it was still a seed of an idea. “They had some general ideas and sketches of what it could be,” says Marcin. Dupont has such large work as a brand that they had to cover all sorts of food genres, so it was going to be a broad campaign, and Ars Thanea took on the entire creative challenge.

    Starting with photography, Ars Thanea worked with a food stylist to make sure that each dish would look as good as possible. And with the exception of the dumpling and the chocolate bar, every food item is real. The ham, the cheese, even the bread is real. (Since Ars Thanea is based in Poland where they don’t have a sliced wheat bread tradition, the loaf of bread had to be flown in for the campaign.) The dumpling and chocolate bar were still photographed, but they were models made from plastic and rubber.

    After photography they attacked the “portals,” or the doorways in each dish, using 3D digital compositing. Each image becomes an integration of photography and digital creation with each element created couture for DuPont.

    When asked which ad is their favorite, Marcin and Aleks agree. While others at Ars Thanea love the dumpling or the bread, they both prefer the cheese. Those photographs are the result of shooting multiple images and combining them into one super cheese. “The cheese was combined from three different cheeses,” explains Marcin. The rind, the flesh, and the holes each came from different sources, making the perfect presentation of cheese that they could. And they had to make sure that cheese was just right because, after all, it’s what’s inside.

  • 3.5.15

    Ars Thanea Gets Extreme

    Our technology has given us the freedom to explore our world in new ways and connect with each other seamlessly. Our devices are integral to how we interact and as we bring technology into every facet of our lives we place these devices at risk. Each venture on the other side of home’s door contains the potential to destroy those devices, but why should we hold back because we’re afraid of the fragility of what’s in our pocket? Our phones and tablets are supposed to open new experiences, not hinder them.

    LifeProof cases solve a lot of the problems that active tech users find. Protecting against water, dirt, extreme temperatures, and shock, these cases wrap around all types of different phones and tablets so that anyone can bring them along on their adventures. The trick is to spread their message in a way that’s as exciting as the experiences LifeProof’s cases enable. “Whatever happens: it’s your story, it’s your experience and you can keep your phone close to you at all times,” explains Marcin Molski from Ars Thanea, the studio that created LifeProof’s latest line of advertisements. “It could be extreme, and it’s still fine.” Using extreme sports as a backdrop to highlight each of the protections that LifeProof offers, Ars Thanea used a series of photographs to simulate time lapse photography to show the action in a still composition. “All the actions show situations where you can lose the phone,” explains Aleksandra Watras at Ars Thanea, but the athletes aren't worried about it. Instead, they can focus on what they're doing.

    Each sequence shows the athlete stumbling or falling, only to pick themselves off and keep going. As the ads say, “Leave Nothing Behind!” In training that statement means that you give everything you have, always performing at the highest level possible, which is what LifeProof cases are enabling. The training continues, regardless of the stumble, and the athlete gets to write their own future, instead of considering the safety of their device. "We show different poses for each person because it shows their story,” says Marcin. A story that's possible because of LifeProof's cases.

  • 1.22.15

    Ars Thanea Scores with an Air Ball for Nike

    Air balls are embarrassing things. The phrase connotes those moments when a shot is taken in basketball and it is so far off that it doesn’t touch the rim, net, or backboard. It is a total miss. But the phrase “air ball” is tantalizing. The ball, the focus of the game, the object from which the entire game revolves, is energetically weighty, holding the hopes and anxieties of every player and fan watching. But an “air ball” is light, mobile, and agile. It is inherently a part of its surroundings. It’s a rich idea. 

    Nike asked Ars Thanea to interpret the idea of an “Air Ball” in a way that would express their latest line of basketball apparel. What came out of their creative sessions was a ball whose airness wasn’t merely attributed to the air that fills it, but rather something whose abilities and ambitions allowed it to carve through the air on its own whim. The result is a self-reliant machine that takes the guise of a regular basketball. But it is anything but regular.

    In their process to discover what this semi-autonomous could look like, Ars Thanea went through a process of digital sketching, examining different options from color to jet propulsion placement, to the throw of heat and light from its engines. The compositing process in a project like this is always lengthy and challenging, but we’ve included images from six different points of the process so you can see how the image develops over time.

    Selling the reality of CGI comes in the infinite details. Computers and vector are good at impossible smoothness and cleanliness, but they won’t feel real. To really sell the image, Ars Thanea had to lock down elements that are so wildly variable that they have to be real. The rich environment of a basketball court including court lines and nets is reflected in the glossy surface, while tiny inconsistencies on internal patterns look handmade. Even the intense “heat” off the engine warps the surrounding elements to inject a special layer of reality on the smallest elements. 

    “Air ball” is supposed to describe a shot that is taken and totally missed, but it can also mean something else entirely. As Ars Thanea explains, it can also mean, “giving the impression of the ability to fly and reaching the unreached.” Score.

  • 8.29.14

    Ars Thanea Brings the Doom and Gloom

    If you’re one of any of the millions of fans of the show Game of Thrones on HBO, you might be trying to find a (safe) way to get closer to the show. Truthfully, Westeros (the fictional setting of the series) is a brutal and unsafe place, so maybe you don’t actually want to be there. But if you want to pretend, CGI masters Ars Thanea have something just for you.

    Despite what some news broadcasters will tell you, the weather is not always the most exciting thing the world, but it’s necessary information. Why not spice it up a little? Ars Thanea did just that by adding Game of Thrones styling and text to a basic weather app to bring that little bit of brutality to an otherwise banal task.

    For the app, Ars Thanea designed a series of weather “icons” to match what’s happening in the sky. Everything is represented from the sun, to storms, to wind. For the style, they took from the iconic steel in The Seven Kingdoms (another name for Westeros). All the icons are carved or shaped out of steel. But like Game of Thrones, they’re a little lived in. Patches of rust speckle the otherwise flawless metals. Like a knight with a bloody sword, their icons show a worn elegance signature to the world of Game of Thrones.

    In addition to the ominous icons, there’s the option to include quotes spoken by characters from the show. These all relate to what’s happening with the weather as well. Phrases like “Dark clouds, gloomy news” and “Fear cuts deeper than swords,” add just the right amount of anxiety that you can’t get from your typical weather app.

    Ars Thanea produced this app in conjunction with HBO to celebrate the release of the fourth Game of Thrones season. As each season goes on, the characters’ futures get more and more bleak. Like a rainy day reflected in rusty steel. "It's always too cold or too hot without hope for a happy ending of the season," Ars Thanea says to explain the bleak look of their visuals. It is an apt statement. The show has become famous for losing scores of their most beloved characters, one right after the other. It's no wonder a fan would look to a stormy sky and find reason in the bleary forecast.

    The app is available for purchase now! Unfortunately, unless you speak Polish, the app may not be for you, since it’s currently only available in Poland.

  • 5.28.14

    Ars Thanea's 3D 'Roulette Chase' Animation for Casino Saga Game

    Ars Thanea continued its work for Rushplay AB's Casino Saga, which combines role-playing and Vegas-style mini-games, creating both the website's interface and a 30-second-long teaser to promote the product.

    In the animated spot, a redheaded gent dodges dynamite hurled in his direction by a cranky pirate. It illustrates one of the island adventures and an antagonist that players must face, and will soon premiere in the Scandinavian market. "For the first time in [Ars Thanea's] history, we created 3D, moving characters," said production director Marcin Molski. "This assignment enabled us to learn so much … I think we absolutely went beyond any expectations – both ours and the client's."

    Piotr Jaworowski, Ars Thanea's executive creative director and founding partner, added: "Since the beginning of the project, [Rushplay AB] put its trust in the abilities of our team." Ars Thanea is also responsible for Casino Saga's 40 themed worlds, 10 avatars, and 40 villains, along with the island's design – which marked its most elaborate map to date.

  • 11.12.13

    Ars Thanea for Assassin's Creed IV: Black Flag

    Ubisoft tasked Ars Thanea with creating the key visuals for its Assassin's Creed IV: Black Flag franchise. "These are part of the largest global game campaign in Ubisoft's history," remarked Marcin Molski, production director. "The art will be printed out for 85-meter-long billboards," along with smaller posters (already mounted in Manhattan, for example).

    Molski and the production studio received sketches and the completed Assassin's cover for references. "As for characters, we worked with the base models from the client, but all of the poses were prepared from scratch," he explained. "We used 3DMAX and ZBrush for modeling, V-Ray for rendering, and Photoshop for everything else."

    Ars Thanea devoted a month to making each incredibly detailed picture. "Our work fits the aesthetic of Assassin's Creed IV's cover, but we produced new interpretations of the characters and different compositions," Molski added.

    Client: Ubisoft Creative Services, San Francisco
    Art Director: Li Shen
    Graphic Designer: Donna Roggi
    Creative Director: Michael Hammond
    Senior Project Manager: Ryan Molyneaux
    Production Studio: Ars Thanea

  • 11.8.13

    It's 'Game On' for Ars Thanea and TEN

    Peter Jaworowski, founding partner of and executive creative director for Ars Thanea, has partnered with TEN – a creative, digital, and educational initiative by Fotolia that aims to democratize digital art – for November.

    His image, "Game On," could be downloaded gratis for 24 hours (beginning Friday morning) as a Photoshop document. For those unfamiliar with the project, it's "TEN, as in 10 artists, 10 countries, 10 months, and 10 PSDs," according to a press release. "Each user can access the set of layers, graphic elements, and style effects held in each PSD, and appropriate them to use them in his or her own work." B&A's Serial Cut and Alberto Seveso made TEN PSDs for September and October, respectively.

    "I wanted to create a very bright and dynamic image – full of energy and fun – that focuses on a basketball player who is mid-air, and the light lines underline the speed," Jaworowski explained. "Even though it's a static frame, I wanted motion to be felt in it. I chose very unusual colors to make the entire scene a bit magical. It's still a basketball court, but it feels more like a fantasy." He combined more than 20 Fotolia photographs in the illustration: "It looks like a simple composition ... I tried to blend them together so the amount of various materials is hidden."

    He decided to participate in the TEN project to share his knowledge with an audience around the world. "TEN Collection will help people learn faster," he added. "If I were starting out, I would love to have access to other people’s files so that I could learn."

    Get to know Jaworowski in the video at right.

  • 10.22.13

    Ars Thanea Shoots the Moon for Chanel

    Ars Thanea lent its ingenuity to a short film promoting Chanel's J12 Moonphase watch. The clip begins with an orbiting moon and refocuses on details of the timepiece (including a moon-phase counter), then zooms out to reveal both white and black versions set in front of a star-filled sky.  

    Using 3ds Max and Adobe After Effects, Ars Thanea added CGI to a storyboard provided by Hi-ReS! London, an award-winning design consultancy and its sister agency. "The entire project took us five weeks," said production director Marcin Molski. "Finding a good lighting setup to match the print campaign was challenging, but our team is extremely happy with the results. We put a lot of energy into this one!"

    Client: Hi-ReS!/Chanel
    Director: Florian Schmitt
    Editor: Hi-ReS!,
    CGI Production: Ars Thanea
    Executive creative director: Peter Jaworowski
    Animation director: Karol Kolodzinski
    Lead 3D artist: Pawel Szklarski
    Animation: Patryk Habryn and Artur Szymczak
    3D artists: Anna Mierzejewska, Piotr Nowacki, and Patryk Habryn
    VFX Artist: Patryk Habryn
    Compositing: Karol Kolodzinski
    Production Director: Marcin Molski

  • 10.17.13

    First Look: Casino Saga by Ars Thanea

    Ars Thanea completed its most elaborate map project to date for Rushplay AB's soon-to-be-released Casino Saga, which combines role-playing and Vegas-style mini-games. Users select an avatar and go up against "bosses" for the opportunity to advance to another chapter.  

    "We concepted and produced everything from scratch," said production director Marcin Molski. "We only received a list of themes that should be included on the map, plus short descriptions for the avatars and bosses. Over three months' time, we made 40 themed worlds, 10 avatars, 40 villains, the web design, and the logo." Molski and his team turned to Photoshop for the digital painting of the map sketch and characters, as well as the post-production work. 3D elements took shape in 3ds Max and V-Ray.

    "The biggest challenge was finding a proper style to fit all of the worlds so the map would look good when zoomed out, while keeping in mind the small buildings and pieces that needed to match," Molski explained. "And we had to put everything on a realistic island shape."

    Client: Rushplay AG
    Agency: Ars Thanea
    Executive creative director: Peter Jaworowski
    Art directors: Piotr Kolus, Karol Kolodzinski, Michal Lisowski, and Mikolaj Piszczako
    Lead 3D artist: Piotr Kolus
    3D artists: Anna Mierzejewska, Piotr Nowacki, Artur Szymczak, Daniel Komuda, and Iza Zelmanska
    Map concept artist: Krzysztof Roslan
    Digital painters: Michal Lisowski, Mikolaj Piszczako, Krzysztof Roslan, and Patryk Habryn
    Digital artists: Karol Klonowski, Karol Kolodzinski, Marcin Kowalski, and Lukasz Wiktorzak
    Production director: Marcin Molski
    Producer: Joanna Bak

  • 8.27.13

    Ars Thanea's Imaginative World for Wacom's New Tablet

    Ars Thanea and Netherlands-based "centre for creation" artbox partnered on the key visual for Wacom's new Windows 8 tablet, the Cintiq Companion.

    "We received the blue main character from [artbox's] Bardo Hogendoorn who designed it and our task was to build a world around it," said Ars Thanea's Marcin Molski. Keeping in mind the Cintiq Companion's portability (not to mention its multi-touch control, pressure-sensitive pen, and dual facing HD cameras) and the campaign's tagline ("Make the World Your Studio"), the team riffed on the idea of flying. "We put in an astronaut, a bird, a spacecraft, a robot, and so on," Molski explained.

    During the three-week-long production process, Molski and co. turned to a variety of techniques – drawing, 3D/CGI, digital painting, and creative retouching – that provides viewers with a glimpse of Ars Thanea's own studio turned imaginative world.

  • 8.5.13

    B&A in 200 Best Digital Artists Worldwide

    Four B&A talents are featured in Lürzer's Archive's 200 Best Digital Artists Worldwide.

    Coherent Images was included for a set of futuristic bugs created to advertise a Bayer insecticide. "I paid special attention to detail in hi-res rendering," Thomas Simpfendoerfer explained. "I wanted the insects to look 'natural' also in exhibition panel size reproduction. 'Natural' is an important, but ambivalent word for us CGI artists. We are of two minds, as the object is digitally made, but should be utterly convincing, as if it could exist in our natural environment." 

    Serial Cut's ad for L'Auditori, home of the Orquestra Simfònica de Barcelona i Nacional de Catalunya, fell under the volume's "Objects" section. "The shapes coming out of the box represent classical instruments, but, at the same time, the shapes are not totally clear, though they appear tactile," Sergio del Puerto noted. "We leave it to your eye to draw them." 

    Ars Thanea's work for Discovery Networks, Disney, and Nvidia received recognition.

    A trio of projects by Lightfarm Studios was also selected: a promo for Sony 3D Television meant to capture an OMG moment frozen in time; an extraordinary visual for Radio New Zealand's classical music battle that depicts the frontline struggle between two scores; and an advertisement for So Good Almond Milk. "We originally thought about photographically shooting the glass and milk elements, however we decided the best outcome for reflection control would be to create it in CGI," Denny Monk remarked. "We also found that once all of our almonds were in place, a slight hiccup occurred ... with so many of the same-looking objects put together so closely, an interesting moiré pattern appeared. With the flexibility and control via CGI, we were able to quickly remedy the issue." 

    Read about B&A in Communication Arts' Photo Annual here.

  • 7.10.13

    Ars Thanea x São-Paulo Football Club

    Soccer is arguably the biggest sport in the world and team loyalties run thicker than blood, a concept that comes into play in São-Paulo Football Club's latest ads.

    Creative studio Ars Thanea was approached by Young & Rubicam Sao Paulo to produce two key visuals for their "Before Anything Else, São-Paulino" campaign. In case you're not familiar, são-paulino is the term used for fans of the team and for them, soccer is life. The concept for the ads was to show a são-paulino tearing away his skin to reveal a São-Paulo Football Club jersey. Ars Thanea's digital artists and photographer collaborated closely with Y&R to deliver two very realistic images.

  • 6.3.13


    With accolades and awards, record breaking app sales, and a wide variety of clients/projects, 2013 is already a blur for the creative powerhouse, Ars Thanea. The production house most recently collaborated with Nomadic Agency for the newest interactive website release of Disney's Monstrous Summer. You can explore the fun yourself here or take a guided video tour below.

    The award-winning production studio also recently wrapped up a 3D illustration project for HBO Asia "movie busters," designed to resemble crumbling ancient Egyptian ruins. Their gaming creation Puzzle Craft has received positive reviews granting them a nomination in the Games category for the Webby Awards along with being included as part of a Windows 8 German marketing campaign.  Ars Thanea's SYZYGY Group project "'20 Things 2011" was recognized as a finalist in the Social Media category at the One Show and selected as one of the 200 Best Digital Artists Worldwide by Lurzer’s Archive.

  • 5.7.13

    Ars Thanea and Mizone Give Water a Makeover

    CGI studio Ars Thanea worked with Y&R Shanghai to create the latest key visual to launch the new blueberry water by Chinese beverage giant Mizone. For this launch, Poland-based studio created the visual using entirely CGI and illustration.

    A real bottle traveled from Shanghai to Warsaw and served as the model on which the final image was based on. The concept of the key visual was to both tell a product story and to create a refreshing image that would appeal to the female audience.

    Client: Mizone
    Agency: Y&R Shanghai
    Illustrator: Ars Thanea
    Executive Creative Director: Anam As
    Art Director: Handsome Wong
    Agency Producer: Alison Du

  • 4.25.13

    Ars Thanea Creates 3D Visual Magic for MHCD

    Ars Thanea created these eye popping miniature depictions of the Mental Health Center of Denver's two campuses. Working only off references and descriptions from the creatives at Cactus Marketing, Ars Thanea drafted illustrations and then used CGI modeling to bring MHCD to life. 

    Client: Mental Health Center of Denver
    Agency: Cactus Marketing
    Production Studio: Ars Thanea
    Executive Creative Director: Peter Jaworowski
    Art Director: Karol Kolodzinski
    Concept Artist: Krzysztof Roslan
    Lead 3D Artist: Piotr Kolus
    3D Artists: Piotr Nowacki, Anna Mierzejewska, Daniel Komuda
    Digital Aritsts: Karol Kolodzinski, Karol Klonowski, Marcin Kowalski, Lukasz Wiktorzak
    Digital Painters: Krzysztof Roslan, Mikolaj Piszczako, Michal Lisowski
    Production Director: Marcin Molski

  • 4.15.13

    Get On Board with Ars Thanea and British Airways

    Ars Thanea and British Airways come together to spread the word about the airlines' new Colombo to London route. Ars Thanea was asked to create a microworld of Britain to showcase all of the country's best assets.

    Ars Thanea incorporated nearly every classic British iconography including the Palace of Westminster, red double decker buses, and The Beatles. The elaborate illustration was created using a combination of matte painting and stock photography/3d rendering. The final ad can be seen in countries around the world from the Middle East to Southeast Asia. So see you in London soon?

    Client: British Airways
    Agency: BBH Singapore
    Production Studio: Ars Thanea
    Executive Creative Director: Peter Jaworowski
    Art Director: Karol Kolodzinski
    Digital Artists: Karol Kolodzinski, Karol Klonowski, Marcin Kowalski, Lukasz Wiktorzak
    Digital Painters: Krzysztof Roslan, Michal Lisowski, Mikolaj Piszczako, Patryk Habryn
    Lead 3D Artist: Piotr Kolus
    3D Artists: Anna Mierzejewska, Piotr Nowacki, Daniel Komuda
    Production Director: Marcin Molski

  • 2.14.13

    Ars Thanea Conquers the Mobile Market

    Ars Thanea worked quickly and meticulously to create the glowing cover of the latest issue of AdWeek. The cover re-imagines mobile devices as city skyscrapers to illustrate the issue's leading story "Asia Calling: What Marketers in the U.S. Can Learn From the Region Where Mobile Rules."

    The project was completed in only three days and built using stock photography and creative retouching techniques for added realism. Ars Thanea was included in AdWeek's Talent List 2011 (TOP10) and AdWeek's Talent List 2012 (TOP100).

    Creative Production Studio: Ars Thanea
    Executive Creative Director: Peter Jaworowski
    Production Director: Marcin Molski
    Lead Digital Artist: Karol Klonowski
    Digital Artists: Marcin Kowalski, Lukasz Wiktorzak
  • 1.16.13

    Ars Thanea and Michael Warren Launch New Campaign for GE China

    Ars Thanea and photographer Michael Warren worked with TBWA Shanghai to launch the latest ad campaign for GE China. Ars Thanea and Warren used the iconic visual texture of Chinese porcelain in a series of visuals that tell the story of how GE technology transforms the lives of Chinese people.

    The two project had the illustrator and photographer collaborating closely with the agency to ensure the mix of photography and 3D and 2D illustrations integrated seamlessly together. Three ads launched late last year in Chinese airports and in print media. The fourth ad is set to launch this spring.

    Agency: TBWA Shanghai
    Client: GE China
    Creatives: Dwayne Koh, Jimmy Wang
    Producer: Allen Chen, Joanna Zhao
    Photographer: Michael Warren
    Illustrator: Ars Thanea

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