Shotopop Feels The Beat With Spotify
Musical taste is subjective, and sometimes hard to describe. In their latest campaign with Spotify, the illustration, animation and design studio, Shotopop, created five different visual musical identities from drawing board idea to 3D character. Each animated dancer came to life and moved to the beat through motion capture over two full days at Pinewood Studios in London.
The work that goes on behind the scenes of a project usually goes unseen. For a painter, it’s the color combinations and brush strokes that still only live on a piece of scrap paper. For a photographer, it’s the outtakes and unedited photos that never make it to print. For animators and CGI artists, it can be as simple as the basic awareness of how objects move, and as complex as strapping a human into a full body suit with sensors to precisely capture fluid movement.
Spotify called upon Shotopop for their expertise on this project, with just an idea. The designers at Shotopop decided to create a series of motion capture dances that represent each of their different listener profiles. The entire process took two full days, as well as a team of dancers and choreographers. The studio produced a behind the scenes clip that details the intricate 48-hour process in a mere fifteen seconds.
The result is a number of motion clips featuring colorful 3D animated characters. A flexible disco ball, an EDM inspired confetti monster, a rock and roll headbanger, three pastel k-pop groupies, and a workout dancer all grooving to the beat to the soundtrack of the Soundsmiths. It’s hard to not mistake these lifelike figures for real people in costumes. For those who understand the behind the scenes process, they technically were.
Shotopop Gets Epic for Spike's Ink Master
Tattoos can be anything you want them to be. A memento for a loved one, a reminder of a time gone by, or a beautiful flourish that simply looks amazing. But if you’re going to put something permanent on your body, why not make it epic? That was the idea when Shotopop created the latest teasers for the newest season of Ink Master, the SPIKE TV reality show that celebrates the artistry of tattoos in the best prototypical contemporary American way: competition.
The animated spot entitled “Ink Master: Return Of The Masters” that stretches past 90 seconds, shows us the masters Anthony Michael, Steve Tefft, and DJ Tambe, as well as host Dave Navarro, surfing through a city’s sky that moves to a massive battlefield at the foot of a mountain. Each master commands a small army of artists on the show who compete to win, but in Shotopop’s animation the masters also command all the entities that come to life from tattoos scrawled across fans. Dragons, octopi, birds of prey, and femme fatales leap off arms and chests and slam together on the field of battle.
Shotopop carefully honed the animation style for this video, choosing lines and colors that reflect the heritage of the art form, respecting the source inspiration while bringing it all together to its logical display.
The war climaxes at the apex of the mountain with the masters and Navarro about to engage in a final showdown. But if you want to see what that showdown will look like you’ll have to tune in on January 9th when the new season begins. Until then, check out Shotopop’s animation to tide you over.
Shotopop Shakes It Up at The Savoy Hotel
A great bar is like climbing into a different world. The design of the space, from the lighting (preferably dim), to the décor (preferably plush), to the drinks (preferably strong), sets a tone to escape the outside world – even if it’s just for the night. The Beaufort Bar at the Savoy is a bar like this, with art deco inspirations, golden booths, and masterfully made cocktails. But there was a piece missing in this masterpiece and they asked Shotopop to help them fill it in. They needed an impeccable menu, and tasked Shotopop with creating a bespoke book of their twenty signature cocktails. Shotopop took the request and ran, making an inspired piece that blends old school references with new school techniques. “The menu was visually inspired by old children’s tunnel story books like Alice in Wonderland,” Carin Standford, Co-Founder and Director at Shotopop explains. “There is a sense of mystery as you page and reveal more of the narrative that is peeping through the tunnel.” Mixed into that presentation is a reflection of the bar’s Art Deco gilded décor, theatre of the space, blended with the movement of mixing a drink. It’s all poured together to create something special that pops off the page.
More than that, it’s steeped with history. “The menu takes patrons on a tour of the hotel through its legendary tales and extraordinary guests,” Standford explains. “From secret wartime speakeasies, rooftop tap-dancing and extravagant gondola parties to luminaries such as Fred Astaire, Alfred Hitchcock, Katherine Hepburn and Tom Jones.” Each cocktail gets its own two-page spread, making for a book that’s chock full of references and stories, if only you have the curiosity and gumption to investigate them.
As the pages of the menu turn, cut outs shift, grow, and contract, windows opening and closing as they go. It’s a beautiful experience to thumb through, but it’s a logistical challenge. Each design of each page had to be constructed around these very real changes in canvas, every spread unique. It’s a challenge, but one Shotopop was able to master with a little bit of foresight. “With a project like this, it takes a bit of planning in terms of mapping out how the die-cuts will work, which is something you have to do at the start and keep reassessing as you go to make sure that things are still working as expected,” Standford explains. It’s all about keeping creatively agile until the final project presents itself.
By adding this kind of treatment to the bar’s menus, the team at Shotopop has created portable works of art. They’re beautiful to see, but it’s possible some customers might like them a little too much. But that’s okay. “I wouldn’t be surprised if a few ‘went missing,’” Standford says about the possibility of the menus walking out the front door. “The bar actually likes the idea of clients being able to take away a keep sake, so we have developed coasters that reflect the menu that people can take home with them and we’re in talks for a few other keep sakes that people will be able to purchase later in the year, so stay tuned for that.”
We’ll just have another cocktail while we wait.
Out Now: B&A Journal 9
Bernstein & Andriulli is more than an international agency with some of the best agents in the world, we’re a home for artists. Our roster represents creative forces that we truly believe in and whose work we want to spread to every corner of the globe. These artists are incredible talents and incredible minds, and as much as we show off all the best projects that they work on sometimes you need to get a taste of it yourself. That’s why we introduced the B&A Journal.
Every few months we pick some of the best work that’s come out of the agency and feature it in a large format, printed journal for friends, fans, and clients to thumb through at their leisure and experience the work of these world class artists in an intimate and tangible way. This week we’re releasing B&A Journal 9, and we couldn’t be more excited.
In addition to a beautiful cover shot by Ben Rayner, and dedicated pages for dozens of our artists (featured here are Platon, Marco Grob, Stephen Wilkes, Rose Blake, Guillaume Lechat, We Are The Rhoads, Serial Cut, Shotopop, and Radio), we’ve also included a special insert with this edition that formally announces our Murals department that includes a roster of public artists that rivals the best in the game.
B&A Journal 9 should be hitting your mailbox very soon - and if you want to make sure you get a copy reach out! We’d love to hear from you.
Shotopop and Nike Remind Us to be Great
The Olympics are officially over (sad we know!). The multiweek jubilee of sports and sportsmanship has come to a close and now is the perfect time to reflect on the incredible moments that unfolded over the last days. Dreams were realized and broken, stories were written with hope and controversy, and records were shattered (including one that dates two thousand years back to Leonidas). It was a celebration of our global community through competition, and we’re here for that. More than the huge stage, it was about the athletes who endured during these incredible feats and Nike, one of the sponsors of the event, wants their athletes to be front and center – for good reason. They asked Shotopop to put together a series of looping GIFs that could tell their stories within tiny parameters.
Nike is an international company so if you’re looking for them to choose sides in any competition you’re going to be disappointed. The side that Nike chose, instead of a nation, is that of sport, that of the athlete, that of competition. For that reason they had Shotopop create imagery for a serious collection of athletes from Allyson Felix and Vashti Cunningham, to Neymar daSilva, Mo Farah, and Dafne Schippers. Each one of these athletes was at the center of their own drama in Rio, but their presence in these pieces remind us to keep going, focus on our goals, and when it comes down to it: Just Do It.
In Shotopop’s pieces we see these athletes in a white space, decontextualizing them so we can see them for the people that they are, interacting with space and often with Nike’s motto “Just Do It.” The Olympics is a reminder that we can all be great, as thousands of human beings who have trained and focused and explored human limits find success and break through what we all imagined possible. It’s up to us to rise above and Shotopop shows us how it’s done.
Shotopop Gives Context to Nordstrom
Fashion is far more than aesthetics. It’s an expression of how we see the world and how we want to see it. It’s about aspiration and shaping reality into the most beautiful or perfect ways. We use fashion and style to create a context for our lives and make them appear better even if they aren’t. Fashion is the lens that we use to see our world the way we want to see it. It speaks to the heart of what we want for ourselves and the future. For us to understand the prophetic visions of designers we must have a clear context, and when Nordstrom was curating their latest seasons they asked Shotopop to create the context for them.
The result is an epic illustration that acted as both the background and the setting for Nordstrom’s collection of apparel. The massive black and white piece gives life to the designs that it displays and enhances in multiple ways. “This incredible single illustration by our own Shan Jiang was commissioned by Nordstrom for multiple uses, including window displays, products, props, sets and online promos,” says Casper Fraken, Director at Shotopop. “It took over a month worth of hand drawn illustration, but the final result was worth the wait.”
Shotopop Gets Creative with Clarks' Colorful History
Clarks’ latest ad campaign is not what you would expect from a shoe company that has been around for almost two hundred years. The dynamic imagery created by Shotopop, in partnership with McFaul + Day, is the result of unprecedented exploration and research on the other side of an open creative relationship between the creative group and the shoe company. “They wanted to do a kind of unconventional visual for these three iconic shoes,” explains Casper Franken of Shotopop. “There was almost no brief at all, they wanted to kind of make something that’s physical and they wanted to show the history of the shoes in doing this.”
The Shotopop team headed to the Clarks headquarters and spent a significant amount of time with the Clarks archivists to learn everything they could about the brand’s history, anything that would help them create some amazing visuals. “We found out some really interesting things that we didn’t know about the shoes, where they came from, the history, the people that made them, what influenced and inspired them,” Casper explains. “We took this information back with us and built a world around each shoe that was influenced by the history and the social context of that shoe.” They used every tiny bit of information to inform the final imagery that was a combination of paper craft and photography.
Casper was excited to share with us some of the things he learned that he and the Shotopop team incorporated into the final compositions. One of the most surprising things they learned was about the history of the Wallabee and how it found some unexpected support in a market that Clarks didn’t target at first. “When the shoes came out not much happened until sometime in the 1980s. The New York hip hop scene started wearing the shoes and they caught on incredibly fast,” says Casper. “It just became a hip hop icon.” That’s why you’ll see iconography of both New York and hip hop in the image for the Wallabee, as well as some Native American inspiration that helped to inspire the shoe in the first place.
Each image contains strange little additions that Casper says not everyone is going to understand but they’re all rooted in Clarks’ history. One of the more seemingly eclectic images is the Desert Boot that includes, among other things, a sand castle, a car’s gas pedal, and a key. But, as Casper explains, this is all a part of the shoes’ history. “Nathan Clark, a lover of fast cars, was kind of the crazy brother who invented the Desert Boot and he had this weird thing where he always stashed things away wherever he went,” says Casper. “He was a world traveler, and he had little boxes in every country, in every place of the world where he would go. That’s why we put a little key in the pedal there.”
The exploration that Clarks afforded Shotopop made this project uniquely satisfying for the team. It brought them an exceptional and rich level of creative fulfillment. “It’s rare to have a project that’s so open where you can do so much research and kind of get to know the brand so well, especially when it’s a brand like Clarks that has such a colorful history,” says Casper. “It was a lot of fun to make and to explore.” The eclectic nature of each image is what’s so compelling about them, ever more compelling to know its all based on the true history of the historic brand.
Shotopop Heralds the Return of Usain Bolt with Puma
Usain Bolt is the fastest man in the world and, by many accounts, the fastest man ever. At the towering height of 6’5” he has used his long stride to capture world records all over the world, all while capturing the hopes of millions. But Usain is, first and foremost, a Jamaican, living on the island where he was born. International success can draw stars to more glamorous lifestyles, but Bolt has kept his roots at home, focusing on his sport and bringing him around the world to defend his titles. Bolt’s latest races took place at the 2015 World Championships just a few weeks ago in Bejing. Bolt held on to his 100m and 200m titles, and then immediately after winning his record 10th gold, was struck by a runaway Segway. Bolt was unharmed, but it caused a few good laughs on social media and Bolt responded with good humor.
To build hype and excitement in the time leading up to the race, Bolt’s sponsor, Puma, teamed up with Shotopop to create imagery celebrating Usain’s success and historic career. The creation was set to be used on social media and features the runner breaking through finish line tape extending from Chinese characters that dominate the composition. The piece proclaims, “Beijing, Bolt is back,” which may instill fear on some athletes. The last time Bolt was in Beijing to compete were in the 2008 Olympics. Those were the summer games where he broke his own world record and shattered the previous Olympic record (that had stood since 1996) in the 100-meter sprint. Oh, he also broke the 200m and the 4x100m relay. He dominated every event that he touched, causing him to burst into the scene and catch attention that he had been denied to that point. That was the moment that the world took notice, crediting him for being the historical star we all know he is today.
Puma used the image on Twitter as their banner, and an edited version for sharing in tweets. Whether or not it instilled fear in the hearts of his rivals is an academic point. He won his events handily proving that he was, in fact, back.
Shotopop Heralds the Return of The Grateful Dead
Fifty years after The Grateful Dead formed in Palo Alto, California, they’re set to embark on a series of “Fare Well” concerts to put their performances to rest. Over the past 50 years, the band has seen nearly 15 members who came and went, most famously Jerry Garcia whose passing in 1995 created what many consider an unhealable wound in the band’s history. To bring proper reverence to The Dead’s history, these anniversary shows required artwork that would be in line with the band’s history, and Shotopop was brought on board to make it happen for The Wall Street Journal.
“We don’t often get to work with crazy famous band like this, and especially none that have been away for 20 years,” explains Casper Franken of Shotopop. “It’s been fun because it’s really designing something and revisiting old culture and illustrating for a band that was around before the world started changing. It’s before Internet and cellphones.” This particular shift has actually caused some headaches for the band and their promoters. The traditional process of reserving and buying tickets to Grateful Dead concerts was a carefully regulated system of mail in orders that just wasn’t going to work in 2015. The 210,000 tickets for the three Chicago shows were made available via TicketMaster who saw 500,000 requests: a record for the ticket agent. All those fans missing out were further incensed by steep resale prices, forcing the brand to create the Californian dates, but all of this is a reminder of the passion and culture around a brand who has become the shorthand for an entire American era.
This representation was not lost on Shotopop. They shifted their work in order to respect the tradition that The Grateful Dead created, keeping the final product in line with what the fans will expect and being honest to the band’s legacy. “We hand drew everything that we did here, as a kind of homage to the way that they used to do things. And it suits well with our style as well,” explains Casper. “It’s quite psychedelic and funky. We did a few color versions and they went for the most garish color version which I think suits the illustration very well. It’s not often that garish colors work well but I think in this case it’s the exact right thing.” The colors and style come together to honor this band with a half century of history, and untold passion by their millions of fans.
When it comes to being Dead fans, Shotopop are relatively new to the music. Obviously everyone knows about the band, but very little music had been played around the Shotopop studio until they had to dive into the culture. “I’ve always known about the Grateful Dead but I’d never listened to it intently until we got the job,” says Casper. “It’s not what I thought it would be. I saw visuals before I listened to the music, and I had heard the stuff a while ago, but listening to it again the visuals of the time were very telling of what the music is. The music is tye-dye.” Don’t blame Casper if you think that sounds a little funny. Remember: he’s under the influence of the Dead.
Shotopop Gets Unique with Reebok
A commercial artist’s job is to interpret the needs of their client and develop their ideas into campaigns. When Shotopop collaborated with Reebok on the latest campaign for the Pump, the vision was very clear from the start. “They were quite specific about what they wanted,” explains Casper Franken of Shotopop. That kind of clarity can facilitate a strong and efficient executional plan, ensuring that the artists work towards a common goal for optimum results. Since the creative direction was so clear, Casper and the rest of Shotopop were able to focus on the creative challenges presented by the compositions.
The aesthetic that Shotopop and Reebok arrived at is one that is at once familiar and new. “Some of the inspiration came from old school illustrations that were kind of simple things like early comic book illustrations,” says Casper. To get the right look they had to employ a series of different techniques, building layers of color and texture. Starting with digital drawings, they then went into their photography studio to include some authentic chaos. “We scanned from actual paint textures and we did some platters in the studio which we also then photographed and scanned,” says Casper. “So there is a lot of real paint in there.” Digitally combining those scans and photographs on top of the illustrations brings a depth to the images, synthesizing extraordinarily detailed and layered paintings with a level of detail that would be impossible to achieve through any other process.
Even though each image has a similar look to it, Shotopop was very careful to make each ad unique in its specific style. For Casper, that range was part of what made the project rewarding. “It was nice to execute such an array of images, and they wanted to be different within the same style,” says Casper. “Reebok wanted the images to look in the same world but not like they were done exactly in the same style. So it was fun to play around with the styles.” Those different styles all coalesce into a campaign that can connect with any viewer while being entirely unique.
B&A Plays with Oreo
Everyone has their own way of eating Oreos. Whether it's dunking in an ice-cold glass of milk, twisting the cookies from The Stuff, or eating the sandwich cookies whole, there's no wrong way to do it. The myriad of flavors, colors, and themed special editions mean that there's an Oreo out there for everyone, and they can fit comfortably into anyone's experience. Oreo's latest campaign, Play with Oreo, highlights the customizability of Oreos current generation offering a unique flavor for everyone. Oreo collaborated with a handful of artists to illustrate all the experiences Oreo can partner on. Working with ten different artist and studios, including B&A artists Ryan Todd, Jeff Soto, Shotopop, Andrew Bannecker, and McBess, each creative brought their own spin on the story that Oreo is telling in the campaign: that there’s an Oreo for everyone.
Ryan Todd, who contributed illustrations to the campaign, explains that the campaign is really about the personal experiences that each illustrator could bring to the collection. Each illustration features an Oreo character, whose head is a smiling Oreo cookie that acts as the central character in the compositions. “The Oreo character became a personification of playfulness and was central in everyone’s artwork,” says Ryan. “In a way, the iconic Oreo cookie existing as a smiling character was a way for us to channel and represent our own approach to playfulness.” Each ad uses a different word to express each unique experience. Whether you’re discovering, twisting, wondering, rolling, or dreaming, Oreo can partner with you on your journey. By using all these different artists, different styles play off the different actions and create a campaign that’s as varied as Oreo’s customer base.
That creative breadth requires artistic agility, something that was acutely felt by the artists. “It was very exciting to work with a brand who were really keen to promote and encourage playfulness,” says Ryan. “This approach really resonates with me and the way I work so it was a dream project to be involved with.” That freedom and collaborative energy means that each artist’s aesthetic is immediately recognizable. Jeff Soto’s signature characters populate his piece, with their extending antlers, and topographical elements singular to the artist. Andrew Bannecker’s shaded vector style is beautifully suited to his space themed scene. Shotopop’s detail oriented flair offers all the necessary features to speak to their twisty composition. And who better than McBess to inject an honest depiction of the rock lifestyle into Oreo’s world?
Oreo can truly fit into any lifestyle, and for every lifestyle there’s a new Oreo flavor. Recently Oreo has released flavors like Red Velvet, Cinnamon Spice, and Cookie Dough. Out of all the flavors that he could choose, Ryan Todd’s pick is a little smoother. “Here in the UK, we’re not quite as well versed with the variety of flavors on offer compared to that in the US but Oreo ice-cream is always a winner for me!” says Ryan. Wonderful!
Shotopop Gets Creative Quickly for Samsung
Advertising, as a form, is always evolving. Audiences are captive, but don’t want to be preached to. They want to be engaged. It’s not enough to list features anymore, consumers are looking to connect with products the way they are able to connect with anyone online, or the world around them. Devices should fit seamlessly into their lives and enable them to reach their goals, not represent another pile of metal and electricity they’re liable for.
When Shotopop took on Samsung’s latest spot, “Ready, Set,” for The Note, they were tasked with finding the inherent contrast that exists within portable technology. The new Note, a large touch screen phone, has infinite applications, and everyone uses it in a different way. For the sake of this project, they showed the happy contrast between two worlds, and how those worlds happily coexist. The advertisement shows off how The Note can be used in a host of situations to help users be creative, be engaging, and be productive. It uses the age old catalyst, “Ready, Set, Go!” as a stepping stone into richer, more nuanced endeavors,. The animation and design house took on the task of designing the typography for the spot, using two very different aesthetics.
First, for the “Ready, Set” designs, they went with something graphic and strong. “Samsung wanted to keep the whole creative thing going, but also it’s business and serious, so that was the more corporate and techy clean and modern,” says Casper Franken, Producer at Shotopop. “For the other words the focus was to be as creative as possible and just do something wild.” It’s exactly what it sounds like. Shotopop was given free range to go as big as they could. The animators quickly put together some concepts (the timeline was condensed), and as soon as the basic images were approved, Shotopop got animating. What you see is the fruits on that initial exploration.
The focus of this campaign isn’t just to sell the Note, but to show potential buyers that they can use the Note to operate in new, easy ways. With encouragement built into the spot like “Win, Write, Go Big, Create,” the message is clear: be active. This advice was not lost on the folks at Shotopop. In fact, because they were working so hard and quickly on the project, they didn’t have a chance to do anything else. “It was reasonably easy because we were given an almost complete freedom to do anything that relates to the word,” Casper says with a laugh. “We didn’t have time to fail or think about it.” In fact, right before the spots were set to be completed there was a creative change, and Shotopop made some very quick seamless adjustments, but we bet you can't tell.
Kai & Sunny, Shotopop, and Vasava in Johnnie Walker 'Gallery'
The Johnnie Walker Blue Label Gallery, currently situated in London's Heathrow Airport, showcases interpretations of the brand's "Ultimate Blend" by Kai & Sunny and Shotopop.
Kai & Sunny's contribution unites Blue Label's rare character with the artists' recognizable line work. "We created a series of symbols – the flowers represent the whiskey's flavor, the sycamore seeds stand in for memory, and the birds speak to the development over a period of time," said Kai Clements. The duo passed along their illustrations to fellow B&A-ers Vasava to be animated.
"The challenge for this piece was to bring to life the abstract Kai & Sunny's abstract world," remarked Enric Godes of Vasava. "The pair reduces natural forms to geometric patterns and we maintained that sort of tension by studying the movement of the flowers and seeds, and flap of the birds."
Shotopop concentrated on the craft behind the whiskey-making process, depicting liquid in a cask as a gleaming diamond. "Our team put together a number of paper sculptures and tactile elements; each is extremely detailed and handmade," Casper Franken noted.
Both Kai & Sunny's and Shotopop's pieces are projected onto three-meter-tall Blue Label bottles, and the 3D installation will remain in Heathrow's Terminal 5 through February before moving to its next destination. Johnnie Walker also released 750 limited-edition Blue Label bottles etched with the London skyline in a rare, gold-liquid imprint, available only at World Duty Free stores, as part of the gallery's opening.
Johnnie Walker's Mid-Autumn Festival Campaign by Shotopop
LOVE Creative enlisted Shotopop to tackle Johnnie Walker's Mid-Autumn Festival campaign for the Chinese market. Per the brief, the visuals were to be loosely focused around an immortal tree growing on the moon, part of the country's folklore. A character called Wu Gang tries repeatedly to chop it down, but the bay laurel continues to grow back.
Johnnie Walker's Striding Man figure assumes Wu Gang's post, but scales the tree instead. "As he ascended, he realized that it was taller than the universe itself," explained Shotopop's Casper Franken. "He found its branches heavy with infinite blossoms of gigantic fruit. When he bit into the tree's treasure, he tasted the intense flavors of Johnnie Walker Black Label: smoky peat, deep chocolate, sweet vanilla, rich fig, and zesty orange."
"When the Striding Man reached the top of the tree, he understood that just like the immortal tree never stops growing, his own journey knows no end," the story continues. "Wherever he adventures, his message to us all will always be the same: Keep walking."
Franken and his team made special-edition packaging for the Black and Gold Label bottles, a special-edition Blue bottle design, and a set of key visuals – the latter "a bit more intricate, as we decided to build a set to depict the scene, instead of simply reusing the illustrations," he said. "We recreated the tree design, taste-notes, and character in 3D. It was all 3D-printed, painted, assembled, and carefully transported to the studio to be shot by photographer Sam Hofman." Watch the process in the behind-the-scenes video.
Designer, illustrator, and director: Shotopop
Agency: LOVE Creative
Photographer: Sam Hofman
3D printer: Inition
The Making of Shotopop's Cutouts for Fetzer Wines
Fetzer Wines showcased Shotopop's cutout skills for its Crimson & Quartz (red and white) advertisements. Casper Franken, Carin Standford, and their team worked from Cali-based Formium's concept to develop the design and to film the process once they started.
"We took all of the different steps that we had in the sketch, pulled them apart, and made them into objects that we printed out on specific colors," Franken explained. "Then, we meticulously cut out every single piece, and constructed the whole thing – raising the pieces off of each other using little bits of foam board and glue. At the end, we lifted it on its side for photography."
Shotopop created a pair of intricate ads: one Rock & Roll-themed and another for "Craft & Soul." According to Franken, this type of project typically takes three weeks to complete.
See how it all came together in this making-of video.
Shotopop Pits Humans Against Aliens for Steven Spielberg's 'Falling Skies'
Season three of Steven Spielberg's post-apocalyptic TV drama "Falling Skies" premiered with a multimedia component by Shotopop. The self-described team of "visual zealots," along with digital production company R/GA, custom-made illustrations depicting the show's most active Twitter fans as faux cast members. The graphic novel-style artworks, based on each follower's likeness, included his or her username.
Shotopop also created alliance posters to represent the series' Human Resistance and its alien opponents. Twitter and Facebook users picked sides in what was dubbed "the Battle for the Handle," and following the episode, "Falling Skies" set the champion's poster as its Twitter background. Spoiler: The humans won, but aliens could burst out of their chests at any moment, really.
Shotopop Illustrates the 50 Greatest Business Rivalries for Fortune
It's monumental business battles between companies like Coke and Pepsi or Wal-Mart and Target that have changed the world. Shotopop was commissioned by Fortune Magazine to help bring their "50 Greatest Business Rivalries of All Time" article to life.
For the main illustration, Shotopop took the brands, gave them characters and plotted them in a fiery battle against each other. You've never seen the Wal-Mart smiley face or Ronald McDonald quite like this before. In addition to the lead illustration, Shotopop created 20 smaller black & white line drawings for the individual stories.
Shotopop's Interactive Creativity Guidebook for GoogleShotopop were contacted by app development company WeAreHive to collaborate on a project for adam&eveDDB and Google. The concept behind the project was a pop-up book showcasing all of Google's flagship products and services including: YouTube, Mobile, Maps, Search and Social.
Watch above for a fun and whimsical video showing how the book works.
You can experience the guidebook yourself here.
Shotopop's Shan Jiang Illustrates The Lord of the RingsMondo, the famous poster boutique of the Alamo Drafthouse, commissioned Shan Jiang of Shotopop to make a Lord of the Rings limited edition poster. The incredibly detailed hand-drawn illustration was meticulously redrawn digitally as an 8 color screen print. The poster depicts Bilbo and Sam approaching the Eye of Sauron and made its debut at New York Comic Con (NYCC) last month.
Shotopop for Adidas
Shotopop worked with TBWA Shanghai to create an unconventional media piece for Adidas as part of their ClimaCool campaign. The pair created a mixed media collage of London and integrated pack shots of the shoe and David Beckham to create a dynamic, layered pop up in just 72 hours.
Agency: TBWA Shanghai
Art Director: Kevin Lunsong, Alex Avis
Account Director: Lauren Rodwell
Agency Producer: Doris Zhang