Maxim Zhestkov recently revealed his newest abstract short film, СИГНАЛ (Signal.) Maxim is best known for his VIVA Rebrand work and his various other abstract, fluid, and surreal films. I love how immaculately detailed he is, from the various particles gyrating to the environment they live in. Everything plays a key role right down to the sound design. Even if his film’s don’t have an immediate meaning, the payoff lies in more their form than any linear story.
Signal plays less with organic form than Maxim’s previous work, but as always it’s open to countless interpretations. Watching you bask in a beautifully constructed world, only Kubrick could have otherwise envisioned. A space station, control center, labratory? Asking these questions you miss the point, the devil is in the details in the truest sense of the word.
Being the huge Saul Bass fan that I am, as well as most mid-century design in general, the Mad Men titles nearly instantaneously won me over. Not surprisingly, the titles have entered into the pantheon of classic TV titles. They say so much with such simplicity and class that they surpass their stylized treatment.
Such a masterpiece could only have been produced and brought to life by the brilliance of Imaginary Forces. Art of the Title Sequence has an extensive q&a with IF crew Cara McKenney, Mark Gardner and Steve Fuller mapping out their process. Including a glimpse into their inspiration, alternate concepts, and the many typographic iterations of the title.
The post should be required reading for all up-and-coming title designers.
These splendid titles for the Flash on the Beach conference, in Brighton UK directed by Bradley Munkowitz, are enticing to watch. A kinetic maelstrom of light and dance, the hero has “a dramatic interaction with his demons and muses.” In the director’s own words, the titles represent: “a personification of the creative process – the dire search for inspiration and the clarity to propel.” Beautifully shot and produced, I was immediately intrigued and enveloped.