We have worked Bicep's Isles as part of a meta-environment where frozen body movements create sculptural memories of past dance moves. It is part of a collection of moments that have been. Created in a state of suspension, we were inspired by the material nature of their songs and fed on the complexity and richness of Bicep's sound textures. By freezing moments in time as if we were Dadaist photographers capturing full movements in a frame, we've built a system that expresses the spectrum of emotions that live in the echo of the rhythms in the body. To allow movements to be seen from a distance is an act of memory, such as the state of suspension fuelled by techno on the dance floor or the memory of the sounds in the morning after. Isles has multiple covers as well as a lot of different angles of such sculptures in the overall campaign that expands the imagery of the album into the world of billboards, merchandising, announcement assets, and live performances.The fluorescent colors and direct pigments of the printed album electrify the physical nature of vinyl. They were chosen to dance, to ignite gasoline, and pulse light. A neon-flash.
For the celebration of its 250th anniversary, the Portuguese National Printing House (INCM) together with Esad-idea, prepared an exhibition showcasing their legacy. Imprimere is a book about making books. It tells INCM story, explaining how the book making practice changed through the last two centuries.As a sculpture, Imprimere was designed to provide many tactile sensations that belong to the industrial side of printing houses and processes of craftsmanship. Special metallic inks were used as an overprint on top of a visual essay that provides macro shots of dirty and oily mechanisms.Historic ink splashing on the sides of the pages was used both to materialise the process of inking paper but also as a hint towards a particular finishing used in the ancient National Records. Materica Acqua offers a textural cover as the big hot stamped letters on top provides depth, which is used to emphasise the weight of an industrial press.*This project was designed as studio Degrau, along with 3 brilliant friends: Ana Areias, Raquel Rei and Tiago Campeã.
The contrast between the nostalgia of this rich universe and the didactic approach to the techniques that it explains marks this object. The narrative is structured so that the reader can understand all the tips and techniques that are needed to build a book, while also, at the same time, the content provides names and key details that tell the story of INCM.
Using photography to create a sensorial experience across 24 pages of overprinted industrial macro shots, the narrative in than explained using an industrial grid, infographics, 6 academic essays, an extensive photographic report of most of the tools of the centuries and a thorough explanation of seven key vectors: 1. Paper 2. Typeface 3. Typography 4. Calcography 5. Screenprinting 6. Lithography / Offset 7. Binding and one artistic gallery where a selected group of contemporary designers explore each technique.
Secret Weapons, led by a sense of fluidity, cinematic chrome lights, and ongoing shapes that together build the whole.This system is made with great complexity to represent the secrets behind the biggest drops used by the artists in their sets, allowing the user to get lost in the landscape and all its details while at the same time providing us vivid flexibility using the symbol to create a unique artwork for each artist both for social media or for print. A symbolic expression on SW15, building from our previous work as a reference but conceptually framed in the intrigue, the fuel, and the energy that is Secret Weapons 15.
The direction was explored creating shapes that evoke a sense of depth, intrigue, and that push the limits of physical space to grow an intriguing system where secrets are left hidden. Staying optimistic and bright as a system, it is designed to allow forms to be generated for each song, looping Innervisions as a collection of infinite totems that hide the biggest drops yet to be revealed and in tune with the city that nurtured the origin of such dimensions.The key visual factor is that it behaves in a textural and pluridimensional visual alphabet whilst exploring a variety of boundaries and layered. The notion of depth, movement, and moments capture as part of a bigger landscape and instances of motion are the storytellers. The absence of messaging in the first stage campaign acts as a source of stimuli. Transient states of landscapes. That’s part 01. Part of the process of the latest movements for and with: