Pussykrew Reconstructs The Forbidden City for Nike
With the rise of social media and accessible entrepreneurship, businesses are now operating on a global scale. In such a diverse marketplace, retailers are struggling to find ways to set their merchandise apart from the rest. In recent years, experiential endeavors, experience-based events, have become increasingly popular among retailers and brands alike to promote their product offerings. In their latest experiential collaboration with Nike, digital media artists, Pussykrew, deconstructed the traditional Chinese architecture of Beijing's Forbidden City to create key visuals for a large-scale campaign. The project included an activation which consisted of a four-weekend basketball tournament called the Beijing99.
“The campaign was created for Beijingers. It was inspired by China’s rich visual history, combined with the elements of modern art direction to celebrate the attitude and intensity of Beijing basketball players. In our designs, we referenced elements from the Forbidden City which features very traditional Chinese architecture - ancient wooden structures of the palace complex in central Beijing. We think the whole idea for the campaign was very inspiring and quite innovative. The team really put in the effort to create something that feels very inspired by the local culture and that could only exist in Beijing. All of the jerseys featured artworks based on Chinese folklore and Chinese mythology. It’s pretty iconic. They were inspired by different mythical beasts and elements that are a part of the Chinese heritage as a way to celebrate the local culture and history and celebrate the pride and ambition of Beijing’s younger athletes”
The brief's intent was specific: the purpose of the campaign was to inspire the people of Beijing to participate in more athletic endeavors. To do this, Nike planned to honor the top 99 Beijing basketball players in the city by creating a wearable ranking system on jerseys numbered 1 through 99. The basketball jerseys can only be won, and aren’t for sale.
“The collaboration was quite organic. There was a lot of creative exchange as we were trying to find the balance between the ancient historical inspirations and the modern artistic approach. We initially made more simple designs but while the project was moving forward, it really started growing and evolving. We definitely had creative input; we were involved in the whole process. As we were progressing with the project, the client and the agency and creative directors were kind of learning from us what is possible and how we could take it to another level, in an interesting way.”
All of the visuals that went into the campaign were to be directly related to the city’s history, with a modern interpretation to reach the Beijingers. The portraits were inspired by the 2000-year-old tradition of Chinese portrait painting crafted for emperors, empresses, and the elite. Nike planned to recreate those images in a modern interpretation featuring proud Beijing basketball players. The background 3D designs are inspired by the traditional buildings in the Forbidden City, such as the iconic rooftops, and follow themes of repetition, order, and symmetry. The inspirations were to come 80% from traditional architecture and city-based references and 20% basketball elements, focusing on a combination of geometric and abstract designs.
“It was pretty intense because we were 3D modeling single parts that were inspired by the old Beijing architecture while trying to create traditional Chinese patterns. We were basically drawing on 3D models, in the software, trying to recreate a few thousand years of Chinese culture. This was quite challenging, yet very enriching ” Pussykrew explained. “ We painted everything digitally using a tablet, we were drawing and painting by hand. We created collages from photos and had to trace every single detail and added new elements to make the design unique and consistent. I think what we did with the texture is interesting because while we were trying to recreate the patterns, we were also adding our take on the patterns. We added a bit of metal, gold and sheer, glossy details. Beside developing CG backgrounds for editorial and key elements for the campaign that were transformed into CNC machined models, we created jersey product shots. We were asked to 3D model the Jerseys and make hyper-realistic renders.
“To be honest, it was probably one of the craziest projects we ever did because of the complexity of the patterns. We had about three to four weeks to do all nine backgrounds and patterns. The project expanded so that those designs were printed for promotional materials all over the city. The basketball tournament featured a custom basketball court with decals and our 3D designs printed as physical sculptures. Our work was even projected on the Bell Tower in Beijing.”
In addition to Pussykrew’s contribution to this project, another interactive design studio from our B&A roster also collaborated with Nike to help bring their Beijing99 vision to life. Conceptual design house, ilovedust, worked with Nike on three of their basketball game jersey illustrations, The Bluebird, The Bear, and The Horse. “The brief was pretty in-depth. It included a lot of insight into the Chinese traditions and working styles. We partnered with Nike to create fresh takes on these Zodiac animals whilst maintaining a strong link to paintings and illustrations from the past.”
Bejing99 with Nike is one of the largest collaborations by B&A artists, creating something fresh and innovative that hasn’t been done before.
ilovedust Supercharges Red Bull with Street Fighter
You don’t have to be a Street Fighter aficionado to be familiar with hadouken, the incredibly powerful move that was introduced in the first Street Fighter game 30 years ago and still carries cultural weight to this day. It’s an impressive show of strength and force, and the prospect of performing it as a lowly human is unlikely. Unless, of course, you’re super charged. Like maybe you just had a Red Bull? Red Bull teamed up with Street Fighter on a series of limited edition cans, and they asked ilovedust to help them bring them to life. Seven cans act as canvases for the cast of Street Fighter but they’re a little different from what you see in the game. “We wanted capture a sense of energy and dynamism is each charter,” explains Jay Hamdaoui, Senior Project Manager at ilovedust. “Luckily Street Fighter has been around for 30 years which meant there was a ton of great material for us to pull from and use. Going through the Capcom archives took some time, but it was worth it."
The source material is deep, but it was up to ilovedust to create these images in a way that matched up with Red Bull’s brand identity and their creative interests. Luckily, Red Bull was a great creative collaborator for ilovedust. “Red Bull’s a great brand. When you work closely with them on a day to day basis and see what it is they’re trying to achieve and how they engage with their consumer, it’s clear from the very start of a project they’re not looking for an easy, quick solution,” Jay says. “They’re always after a unique spin on things that will make people stop and lose their shit. We love playing a part in that process.” Each of the illustrations of the Street Fighter characters are unique, they’re not exactly the style from the games, but that’s kind of the point. They’re immediately identifiable and reveal their particular personalities. It’s a special interpretation: fresh but familiar.
Of course, with the games being around for three decades there were bound to be Street Fighter fans on the ilovedust team. “We’ve got some seriously passionate gamers here at ilovedust, so a project like this was always going to raise some heads,” says Jay. It’s not enough just to drink Red Bull, you’ve got to play the game too and there’s nothing like opening those cans with their art on them, something Jay calls the most fun part of the whole project.
Future and Young Thug Get Loud with ilovedust
A mixtape collaboration between Future and Young Thug has been expected for years. Both artists are from Atlanta but for some reason had never done deep work together. They had features together, a pretty public feud, but once the hatchet was buried “Super Slimey” hit the digital airwaves without announcement. It was total surprise. There were rumors of songs, but not a whole album. The Atlanta artists needed some top-level artwork to pair with the project and asked ilovedust to help them out. The result is an incredibly aggressive image of a fanged green snake wrapped around a petrified black eagle skull.
The album hit with no notice, but the reaction was swift and strong. The sounds are assertive, the lyrics provocative, and the project hard-hitting – just like the image that ilovedust created for the project. And also just like Thugger and Future’s work, ilovedust remixed the image a few time. The beats that both artists are rapping over are taken from other work, blended with new ideas, and packaged into complete pieces of new work. Although the acid green snake and midnight black skull are what Young Thug and Future ultimately picked for the cover of their album, the team at ilovedust created a more psychedelic inspired 70s/80s version, as well as a gold and marble take that includes plenty of feathers.
Hip hop, and really every other form of art, is a conversation and that conversation is always changing. This time ilovedust’s work reflected the work they were collaborating with, and the ever changing nature of that discourse.
ilovedust's Years of Collaboration with Nike in One Place
At this point, calling ilovedust’s relationship with Nike a “collaboration” is an understatement. Ilovedust has been working with Nike for years, helping to create brand identities, campaigns, and everything in between for product launches, partnership announcements, all the way down to creating fonts. It’s a stunning amount of work - enough to fill a book. Literally. So that’s what ilovedust did: they put it in a book.
They’re calling it the “ilovedust x nike portfolio,” but if we may say, it’s a lot more than that. It’s a chronicle of how two creative powerhouses can work together to create visual magic project after project, season after season, year after year. As the back of the book says “No Rules Here. We’re Trying To Accomplish Something.” This is as much a motto for ilovedust’s work flow as it is an echo of Nike’s ethos “Just Do It.” Each project, each piece, is a new invention, a bespoke creative and visual langue for each story. Whether it’s reflecting the many layers of history and design that go into a Jordan sneaker, or the gravity of Kobe Bryant’s influence on basketball, ilovedust has had their fingerprints on everything and the results are stunning.
Between illustration, CGI, and typography, there’s plenty more to see inside the book than what we’re showing you here. If you want to see more, don’t hesitate to reach out. We’d love to show you!
ilovedust Builds Communication with LA Magazine
Language is a construct – we know how that sounds. Bear with us for a minute. Thoughts are like little building blocks that we stack on top of one another, and with each little thought we create real communication. Through this process of linguistic carpentry we’re able to take ideas in our heads and essentially beam them to others’ using a process that is half mystical and half construction. Ilovedust butted up against this exact idea in a recent issue of LA Mag for a story that featured Ava Duvernay, with photography by B&A photographer Joe Pugliese. The collective created original typography to match the story, and use the opportunity to explore. “We created a wide selection of options, and after a few rounds of modifications we landed on this modular 3D type treatment,” explains Elliott Grubb, the lead CG Designer at ilovedust. “The modular system enables us to create a selection of ‘objects’ in 3D, almost like pieces of sculpture, that when arranged together can then create a very unique type face.”
The depth of the typography is evident through color choice and shadow, blending together to take lettering that’s presented in two dimensions and pulling it into the third. “This was definitely inspired by woodblock lettering for sure,” says Elliot. “As you see a lot of that style around we wanted to explore how it could be pushed further, so rather than each letter being one block we created almost a jigsaw of pieces that could be combined together over and over to create a modern interpretation of the wood block athletic.” In many ways, letters are like pieces of a jigsaw puzzle that we combine and reconstruct into words and sentences. ilovedust took this concept to its very limit, referencing the building and variable nature of language inside to typography.
“LA Mag was great to work with, they gave us a lot of free reign to make this commission look the best it can,” says Elliot. In fact, ilovedust worked with LA Mag in a collaborative process all the way from the very beginning to end. They worked together to pick the shapes, the colors, the styles. It was truly a group effort, and one that paid off. “It was very much a collaborative effort,” Elliot says. “And we look forward to working with them again very soon!”
Kiehl's Goes Global with ilovedust and Radio
Kiehl’s started as a small apothecary in New York City’s East Village, but in the more than century and a half they’ve been around their reach has extended all over the globe. In the time the company has been creating skincare products they’ve founded retailers in cities of every corner of our planet. Their global take over continues this year with a team up between the skincare giant and creative studios Radio and ilovedust to spread the love. In the ongoing advertising series “Kiehl’s Loves,” imagery imagines the relationships between Kiehl’s native New York and other cities all over the world.
Blending the cultures of two cities is a challenge in and of itself, and something that Kiehl’s must do every time they bring their products to a new city. That’s the exact challenge that Radio and ilovedust were confronted with in these projects, and they executed them exceptionally.
Radio has worked with Kiehl’s before, creating a mash up of icons that come together into a clean combination of understanding. For their composition that blends New York and Hong Kong, they highlight the Statue of Liberty, the Brooklyn Bridge, taxis, pretzels, and pizza with the cherry blossoms and skyscrapers of Hong Kong. Center stage is a Buddhist statue offering serenity, and a traditional fishing boat from the South China Sea.
Ilovedust’s illustration reckons with Dubai. The almost comically developed city in the United Arab Emirates reaches appropriate heights in ilovedust’s style, playing sweeping graphic lines off the angles and skylines of both Dubai and New York City. This is where the two cities meet, linked through a parade of camels in a style that’s reminiscent of graffiti.
ilovedust and Gatorade Send Peyton Manning Off in Style
In football there are players and there are titans. Most players come on the field, play their careers, scoring wins and losses against their personal records, and then retire quietly. But there are a handful that leave a lasting impression, sometimes for decades, and attract fans the world over. Peyton Manning is one of those players. Manning spent nearly two decades on the field as one of the most famous quarterbacks in the world, but his retirement last year from the Denver Broncos was a heart rending event for fans who had followed him all that time. Gatorade wanted to celebrate his retirement by engaging his fans and their memories and asked ilovedust to help them do it. “We wanted to make this as much for the fans as for Peyton himself,” says Johnny Winslade of ilovedust. “We are able to view it as artists but more importantly as sports fans ourselves. We know only too well the passion that comes with those legends representing and pushing their teams to success. Peyton embodies all that and more.”
Peyton isn’t much of a digital or social media guy so when Gatorade created a social media campaign for the fans to thank Peyton for his career they knew he wouldn’t see it. So they had to speak Peyton’s language. That’s why TBWA\Chiat\Day asked ilovedust to take the messages tweeted by his fans and create a huge mural that included words from peers, and imagery than spanned his career. “With a project of this size there are lots of challenges along the way with many moving parts, and factors to consider not just creating the art,” says Johnny. “But in truth it ran very smoothly. We created the mural in a studio space in Chicago, which had to be dismantled and reassembled at the draft village. That was probably the biggest challenge. But with lots of careful planning and a wonderful extended team it couldn’t have run better.” After the mural was revealed they invited further public collaboration as fans brought every more thanks and memories, writing them directly on the mural itself.
Players like Peyton Manning are only a few every generation, and these kinds of projects are equally rare. “We are honored to be part of such a wonderful project representing a monumental figure,” says Johnny. “It's not often you get chance to work with someone of Peyton’s stature, and a chance to do so in such a creative, hands-on expressive manner made it even sweeter for us.” Peyton’s retirement is a moment that millions of fans will remember for the rest of their lives and to be able to encapsulate that in literal relief is an incredible moment that will live on.
Here you’ll find a video that follows ilovedust’s process and how it ties into Peyton’s retirement.
Find What You're Looking for with ilovedust CGI, Motorola & Verizon
It’s easy to imagine our relationship with technology as something that exists in the wireless world. We interact with one another through the internet, over the vibrations of cellular service and Wi-Fi, but when it comes down to it we’re really interacting with hardware. Those materials are made by humans and are, much to our chagrin, fallible. But the race is on to mitigate the circumstances that make our devices fail and Motorola has made of the biggest leaps forward: a shatterproof phone. The Motorola Droid Turbo 2 includes a screen that will not break and Motorola was understandably excited to launch it in conjunction with Verizon Wireless. They teamed up together with ilovedust on a creative way to promote the phone. The result was “Droid Seeker,” a game that invited players to find a certain number of CGI illustrated phones in a digital world and 200 eagle-eyed players won, each earning the new phone.
The three dimensional digital environment that ilovedust created for the experience was formulated to offer the perfect hiding place for the digitally drawn phones. The game offered a captivating and engaging experience in a completely custom world designed by ilovedust and Motorola, making for immersion linked with the excitement of gameplay and the anticipation of winning. Ilovedust made a completely digital black on black nightscape in a city of their creation for the game where users clicked through collecting phones to win one of the prizes. It was a feast for the eyes and fun for the curious. It was the perfect way to create a captive experience tied to affinity, building brand awareness and linking it to an emotional experience.
Unfortunately, all the CGI illustrated phones have been found and all the Droid Turbo 2s have been claimed so the game is no longer available to play, but this phone represents a crucial new technology that is poised to change the way we interact with our devices.
The Phantom of the Opera Reimagined by B&A
Masks have been a part of artistic expression for millennia. Allowing humans to take the face of another being transcends the human experience and brings us into contact with the divine (and the basest of creation). They allow us to step out of ourselves and reach another understanding of how the universe works, and how we relate to it. In many ways, the mask reveals. It gives us the freedom to express our true selves, no longer chained by our identity, finally liberated to be what we explore. For every artist that exploration is different, and every artist’s mask is different.
2014’s “Art of the Mask” was a celebration of Broadway’s The Phantom of the Opera. The longest running show on The Great White Way marked another season of success by inviting fans and artists on a week-long retrospective and behind the scene investigation. Props and costumes from the show were available for study, as well as educational displays about the history and workings of the show. But the highlight of the show was a series of masks created by different artists. There was a contest that engaged all Phantom Fans from around the world, encouraging them to submit their own designs, but there were a handful of working artists tapped by Serino Coyne that included B&A’s Tes One, Victor Gadino, Griesbach / Martucci, ilovedust, and Chris Parks who got in on the fun (as well as up and coming artist Claudia Griesbach). The designs were only limited by the artists’ imaginations (and what they could fit on the show’s iconic mask).
In each of these artist’s interpretations we see how the mask plays creatively with the themes of the story, the artistry of the production, and the distinct style of each artist. All the masks were auctioned off to benefit Broadway Cares/Equity Fights AIDS. So at least we know behind the mask is a kind heart.
ilovedust Shakes It
We’ve all learned to love twerking the last year or so. If you’ve been living under a rock, twerking is a form of dance that exists mostly to show off the natural, god given assets by the dancer whose ecstatic motions and gyrations illuminate the bounce and elasticity of the human body. Through targeted movement, plump muscles and fatty tissues are whirled and twirled in conjunction with poppin baselines in a celebration of the human form. The only challenge that twerking has raised is that not every song is conducive to the twerk. TWRK, a Trap Music / EDM musical collective, is looking to change that.
For TWRK’s debut EP, “WE ARE TWRK,” creative agency ilovedust teamed up with record label Mad Decent to create artwork that matched the energy of TWRK’s music while keeping the celebration alive. Drawing from SciFi and 1980’s aesthetic traditions, old school references to the fantasy of Egyptian culture are juxtaposed against retro 80’s color and construction, while remaining contemporary in its inspiration.
In many ways, ilovedust’s style transcends classification, shirking a confinable definition for deference to the project. But what ilovedust always brings to their work is a sense of movement and energy, perfectly suited for musical projects. In many ways, the representations that ilovedust has provided for TWRK’s EP are moments of stillness, but through color, gradation, and the play of light on these particular subjects, there is an inherent energy that leaps off the page. They imply the pounding baseline and vigor that TWRK delivers directly to their listeners. At a time when music is increasingly released entirely through the digital plane, album artwork is at risk of demotion, but not in this case. It is compositions like what ilovedust created for TWRK that prove their relevance. It is a visual distillation of TWRK’s own work, communicating through imagery what TWRK communicates through sound.
If you want your own piece of ilovedust artwork to stare at you from your digital music device, and beg you to bounce along, the four track EP will release on May 5, but is available for pre-order now.
ilovedust and Shotopop Bring Out the Monster Talents
The NBA’s All Star Weekend is exactly that: a time for the best of the best in basketball to converge on one city and celebrate the talents and skills that make watching these athletes so much fun. The All Star game is the centerpiece of a huge array of events, featuring a wide variety of personalities, brands, and celebrities. The whole weekend is a veritable pageant of the most commanding athletic figures and their celebrity fans.
Each of the major sports brands typically releases a collection around the excitement, and Nike’s All Star Weekend Collection is always one to watch. Capturing both the giant figures and excitement of the events, ilovedust and Shotopop collaborated on an animation to build excitement and show off a couple products that Nike was going to have available for the celebration. “It was almost like a little trailer in the form of a monster movie,” says Casper Franken of Shotopop, who animated the illustrations by ilovedust. “We see all these athletes who are just coming to New York and something massive is going to happen. But we’re not sure what that is; it just sort of alludes to the action that is about to come.” What ended up coming was a Dunk Contest that ripped a lot of fans out of the seats from excitement, and a close game between the West and East All Stars with a final score that ended with a paltry 5 point differential.
To ensure that the project came together as seamlessly as possible, Shotopop and ilovedust combined forces just about as close as two design groups can. “We were in contact literally the whole time during the project,” says Casper. “We shared with each other way more often than we would normally. We really joined force pretty effectively.” Those daily conversations guaranteed that every element was tied up precisely the way it needed to be. Each group was able to be constantly making adjustments, all feeding into the ultimate success of the final piece.
Not only did this intense collaboration make for an efficient and effective workflow, it meant that the result was grander as a result. “It makes it a lot more dynamic,” says Casper. “The way we worked with them enabled us to do more.” The lines of ilovedust’s illustrations created the baseline epic feeling that Shotopop was able to build upon making for the ultimate celebration of this outstanding weekend.
Oxygen's Triple Artist Family Affair
Collaborations can be tricky. When multiple artists come together to create a single work, all those different points of view and ways of working can rub up against one another to challenge the creative process. Oxygen’s new reality competition show, “Street Art Throwdown,” needed a campaign to express everything that the show encapsulated. The necessary concept reached beyond the capabilities of a single artist, so they went further. True to the show, Oxygen needed to express the full range of pop art and competition, so they needed multiple artists. And they chose three different artists from B&A. Each of these artists are comfortably a part of our roster, and their collaboration created a seamless collection of work that outpaced potential, and the process was as smooth as could be.
A combination live action and animation required a base of solid photography and video. Kareem Black's photography, both in still and motion, allowed a firm base for the progress of the project. Timed trials and high stakes situations create a crucible of energy on the show, all surrounded by the creation of good art. That nearly manic pressure spirals and focuses in on itself, so Kareem’s imagery had to highlight the pointed dynamism. Capturing no fewer than six artists running through the same streets that will find themselves the focus of the throwdown, Kareem was able to grab ahold of that energy bringing the competitors to the forefront. Since Kareem's work was the first step of a larger process, he had to complete his job within the context of what ilovedust, the illustrators, and Shotopop, the animators, were going to need. “What we’re trying to do is documentary, shaky visuals, very kintetic energy. That’s what we’re doing with the stills,” explains Kareem. “For the motion it was a little more planned out, with the camera on tracks. That makes it easier for Shotopop to follow the motion of the shot.” Then Kareem turned over his work to the other artists.
On top of Kareem’s images are illustrations made to enhance the story, created by ilovedust. Though the competition is between artists, their work is what will be judged. Each week, each project, each challenge is a character in and of itself. Not only are the pieces what will be measured against each other, they are created, fostered, and completed on screen. The full lives of this work will be experienced by the audience and will take on independent lives. ilovedust’s illustrations on top of the still images show the separate, but parallel focus of these two elements. By bringing in a whole other creative force to complete this portion of the campaign, the story that Oxygen is telling for “Street Art Throwdown,” grabs the full depth of both pieces.
Finally, with Kareem’s presentation of the competitors, and ilovedust’s composition of their work, all that was left to express was how these elements come together in a live state. Shotopop was onboard to bring movement into the illustrations, tying them into Kareem’s videography for the full experience. As opened spray paint cans unfurl their paint like clouds of fabric, and brushes race to the finish line, the energy and event are composed in movement. “You can’t not have fun animating those illustrations. They’re super playful,” says Casper Franken of Shotopop. “It’s the kind of project where it’s hard not to have fun because there’s so many cool, quirky, fun things in it.” It is more than a static metaphor, it becomes a complete experiential representation.
The show, that premieres February 3, promises to find the next Banksy. But that’s for the judges to decide.
Mother Jones Gets 'Out of Jail F(r)ee' With ilovedust Neon
Mother Jones enlisted ilovedust for "some neon-sign magic" to accompany its May/June 2014 article "Get Out of Jail Fee," which looks at the shadowy – and very well-connected – bail bonds industry. "Seeing [the ilovedust team's] impressive work in the past in other magazines, we knew right away they were the ones for the job," said Ivylise Simones, creative director for Mother Jones/The Foundation for National Progress. Partnering with them was "amazing," she continued. They were "fast, responsive, and detailed – an art director's dream."
Bruce Jamieson, ild senior designer, noted: "With that piece, in particular, we wanted it to be realistic, so the viewer sees everything in place – all of the supports on the glass neon piping, the silicone end covers, and the wire cable ties." The initial type was sketched out in Adobe Illustrator and Photoshop, weighing different font options and studying how they might translate to the neon realm, before moving on to the modeling phase. "When that was set, we could light it and fill the shapes with color hits in Cinema 4D," Jamieson explained. "The light reacts and it starts to resemble a photograph of a neon sign. The final stage takes a lot of time to get together, thinking about how it'll read or where it will glow." The entire artwork took ten days to complete.
"I'm not lying when I say they nailed the project," Simones added. "We couldn't have been more pleased with the results."
ilovedust's Uber Illustration Covers Bloomberg Businessweek
Bloomberg Businessweek asked ilovedust to illustrate its latest cover story, "Uber: The Art of Reinventing the Middleman." The publication's art director, Rob Vargas, "had a rough idea for the concept, but felt it could be pretty flat if the execution wasn't right," he noted. "My previous experience with ilovedust was very positive – additionally, I knew that working with a talented team (as opposed to an individual) would ensure that the potentially labor-intensive concept could be pulled off for a quick turnaround."
Four ilovedust-ers tackled the brief, which called for an isometric grid and a pixel-art feel. "I wanted to loosen it up a bit; one way we did that was by adding personality to the crowd," explained Johnny Winslade. "There's some famous people in there – I won't say who – and we drew ourselves, too ... it is the age of the selfie, after all." ilovedust also varied the colors and shapes of the cars, instead of sticking to a stream of yellow cabs. "Our goal was to create a piece that viewers are going to look at, and then look at again and notice something new," Winslade remarked.
"During the sketch phase, I saw things I wasn't expecting to see – it's always good to receive interpretation beyond the brief," Vargas said. "Everyone here, including myself, was very happy the final ... it was a case where I wasn't one-hundred percent confident in our original idea, but when put in the right hands, it came out great."
ilovedust Lights Up Time Out New York
ilovedust nabbed the most recent cover of Time Out New York. "We were asked to create some typography to promote exciting things to do in New York City," the team explained by e-mail. "As these events were going to provide more of an insight into classic New York rather than usual tourist attractions, we thought it would be cool to make a vintage neon sign ... but we wanted it to have character and not appear too rusty or abandoned." They looked to Coney Island placards for inspiration.
After laying out the type in Cinema 4D – "this gave us a base to work on, with realistic angles, lighting, and shadows" – ilovedust added the details, textures, and cityscape in Photoshop. "We made several different variations that experimented with color schemes and variations on the city in the background," ending up with the final version, on newsstands through December 4.
ilovedust Hits the Floor, and Streets, for VH1
Multidisciplinary designers ilovedust hit the drawing board for VH1's "Hit the Floor," the channel's new scripted series depicting the lives and loves of the Los Angeles Devil Girls.
"[They] approached us to create a huge, black-and-white illustrated background to help frame the show's stars," explained ild project manager Alice Isaac. "For the illustration, we drew inspiration from the show's storyline which centers around the lives and world of basketball cheerleaders." The team devised a three-dimensional space with the Devils' logo – a ball with horns leaving behind a trail of flames – lining the walls and a stripy ceiling.
The final artwork was also wrapped around a set of Starline sightseeing buses that rolled through L.A. "A real highlight of this project was to see actresses Logan Browning and Valery Ortiz snapped in front of the double-decker bus," Isaac remarked.
New York Lottery Bets on ilovedust
Multidisciplinary design boutique ilovedust has invaded New Yorkers' streets and Facebook accounts with a series of posters for the New York Lottery. Each of the illustrations includes a state-themed factoid, such as, "the longest baseball game in history, lasting 33 innings, took place between Rochester and Pawtucket in 1981. It was fine until the 32nd inning, then things got a little ridiculous." The learning experience distracts onlookers from thinking about how someone else won millions of dollars, not them.
ilovedust Turns the Rdio Up
ilovedust collaborated with Rdio on a short animation to announce the rollout of new tracks on the music-sharing site. In it, a scarlet orb becomes biker glasses that change into a crystal ball, which then morphs into a moon (complete with wolf howling underneath), and ... we won't spoil the rest. The latest release from noise-pop band Gauntlet Hair provided the soundtrack.
Ingi Erlingsson, ilovedust's creative director of motion, called the project "too good to be true, giving us the opportunity to try out some things we've been toying with for a while, and also to let the mind wander and the creativity run free." With an ambitious time frame of two weeks, the team worked quickly, first brainstorming "the sort of scenarios, places, thoughts, and dreams that the [new] music inspired in us. Then, we picked the best of the bunch and moved on to the design and animation," turning ideas into concrete imagery.
Music: Gauntlet Hair
Ilovedust Takes Nike to London, Milan and Paris
Want a cool pair of kicks and also rep your hometown at the same time? Well if you live in London, Milan or Paris then now's your chance. Nike introduced their Nike Air Max "Home Turf" Collection that celebrates three of Europe's biggest cities. Ilovedust was asked to create a detailed illustration for each city which are now on display at NikeTown's and other footwear retailers in each city.
#TheWorldIsListening to Ilovedust and The Grammy's
Ilovedust has teamed up with The Grammy's to promote the music industry's biggest awards show on Sunday, February 10th. To get fans hyped, The National Academy of Recording Arts and Science is employing an all out Twitter hashtag-driven campaign, #TheWorldIsListening.
Ilovedust was brought in by TBWA\CHIAT\DAY to provide type treatments for the print and television campaign. What resulted was a strong, paintbrush stroke inspired type that prominently declares that #TheWorldIsListening. The campaign features established recording artists like Rihanna, Taylor Swift, and The Black Keys and gives music fans a chance to get their own productions heard (everybody has to start somewhere after all, right?). Fans are directed to visit GRAMMYAMPLIFIER.COM where they can upload their tracks for the opportunity to be heard by The Grammy's Curators, who include Linkin Park, RZA, and Ozzy Osbourne. Curators pick through the noise and select the cream of the crop tracks to share with their own social network. #TheWorldIsListening uses the power of social media to drive exposure for the Grammy telecast and if Ozzy Osbourne tweets and says he likes your music well, that's pretty awesome too.
Photograph by James Minchin