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The Euro-Vision project is a collaboration between 26 artists from all over Europe & the world to create their own interpretation and celebration of the renowned song competition, The Eurovision – Capitalising on this year’s Eurovision location, Israel, The Startup Nation.

The theme was:

Human & Machine

Some look forward to technology’s innumerable advantages while others fear the progression of artificial intelligence could lead to our downfall. Whatever the case, its rapid evolution is no secret – especially in the start-up nation of Israel, where Eurovision will be held this year.

 

The-Artery, a New York based creative agency invited many different artist to create a visual homage to the 2019 Eurovision competition. Ranging from 3D animation to stop-motion, the artists were invited to visualize what it means for humans and machines to operate as one. Is it peaceful? Violent? Organic? Or a mix of everything? Whatever it is, we know that music can always bring us together as one.
Illustrations from EuroVision | Creative Gaga
Liron Ashkenazi-Eldar | The-Artery
Illustrations from EuroVision | Creative Gaga
Andi Iacob | Romania
Illustrations from Euro-Vision | Creative Gaga
Caroline Kjellberg Juul Mortensen | Denmark
Illustrations from EuroVision | Creative Gaga
Mike Voropaev | Russia
Illustrations from Euro-Vision | Creative Gaga
Anastasia Kharchenko | Azerbaijan
Illustrations from Euro-Vision | Creative Gaga
Patrick Sluiter | The-Artery
Illustrations from Euro-Vision | Creative Gaga
Patrick Sluiter | The-Artery
Illustrations from Euro-Vision | Creative Gaga
Kristian Skogmo | Norway
Illustrations from Euro-Vision | Creative Gaga
Eduard Mykhailov | Ukraine
Illustrations from Euro-Vision | Creative Gaga
Yomagick | Malta
Illustrations from Euro-Vision | Creative Gaga
Grace Casas | The-Artery
Illustrations from Euro-Vision | Creative Gaga
Laura Sirvent | Spain
Illustrations from Euro-Vision | Creative Gaga
Daniel Nahum | Israel
Illustrations from Euro-Vision | Creative Gaga
Nadav Meidan | Israel
Illustrations from Euro-Vision | Creative Gaga
Machina Infinitum | Germany + Italy
Illustrations from Euro-Vision | Creative Gaga
Alex Sasha Djordjevic | Serbia
Illustrations from EuroVision | Creative Gaga
Ryan Morace | The-Artery
Illustrations from Euro-Vision | Creative Gaga
Kasper Pindsle | Norway
Illustrations from Euro-Vision | Creative Gaga
Mihran Stepanyan | Armenia
Illustrations from Euro-Vision | Creative Gaga
João Figueiras | Portugal
Illustrations from EuroVision | Creative Gaga
Andrea Philippon | Switzerland
Illustrations from Euro-Vision | Creative Gaga
Irene Feleo | Australia

Credits

Agency, Production, and Post
Collaborating Artists
Aleksandar Sasha Djordjevic
Anastasia Kharchenko
Andi Iacob
Caroline Kjellberg
Daniel Nahum
Eduard Mykhailov
João Figueiras
Grace Casas
Irene Feleo
Kasper Pindsle
Kristian Skogmo
Laura Sirvent
Liron Ashkenazi-Eldar
Machina Infinitum
Mihran Stepanyan
Mike Voropaev
Patrick Sluiter
Ryan Morace
Yomagick
Nadav Meiden
Andrea Philippon
Aline Sinquin
 
Executive Creative Director
Vico Sharabani

Creative Director
Liron Ashkenazi-Eldar
 
Music
The Soundery Sound Design
 
Sound Design
Patrick Henchman
 
Colour
Aline Sinquin
 
Executive Producer/Managing Director
Deborah Sullivan
 
Editor
Michael Elliot
CURRENT ISSUE
Creative Gaga - Issue 47

 

Dynamite Design shows us how they produce impactful TV branding in a time when digital entertainment production and consumption is at an all time high.

CG. What, according to you, are the most fundamental and essential aspects of  TV branding?

Dynamite: 3 things. Format, Genre and Audience. To smoothly navigate our layouts, it becomes essential to consider which format, either SD or HD, we are broadcasting in. Similarly, when dealing with a diverse set of genres such as movies, general entertainment, sports and so on, we take into account each genre’s uniquely different requirements. Finally, we make sure we understand who the audience is, based on demographics and tastes, as these further help us determine our approach to our design process.

CG. How is designing for the TV different from designing for other mediums?

Dynamite: We are out here creating new brands because someone, somewhere has identified a gap, and as a design house our mission is to occupy that space with as much responsibility in as beautiful and relevant a manner as possible. The design process is pretty much the same as when you design for any medium. The difference here is that the solution is not a static frame or a product, but a dynamic system that literally breathes life and character into the channel.

CG. What helps decide the tone of the visuals?

Dynamite: It is the audience, genre and format. When we design for an HD channel, we know we are dealing with a more evolved audience. Also, HD allows us to use a larger gamut of colours and gradients that the SD format can’t support. So, from imagery to typography, colours, gradients, and the palette, everything opens up completely when we are designing an HD channel.

CG. What is the main motive to achieve when creating TV branding, and how do you make sure it’s engaging?

Dynamite: The main motive is to present content in the best way possible. So, we keep in mind how the viewers’ eye needs to move and register information in a seamless and effortless manner. The biggest motive really is for the viewer to enjoy the experience, even during the breaks. So our job is really to create packaging that is sticky, and to keep the viewers engaged throughout their TV viewing hours.

CG. What is the overall approach and process you follow in your works for television?

Dynamite: We ask a lot of questions! This helps our clients articulate their ‘marketing’ brief in an informal and honest manner. Once we feel we’re on the same page, we take it back to the team for our brainstorm sessions. We are a pretty old school in our approach. In such a saturated market, any new player coming in has to have a unique proposition for the viewer. As a standard, content is always king.

If the broadcaster has to survive or be noticed; it is imperative that the carriage of that content/programming is well thought through. If it’s not presented interestingly enough, no one’s going to give it a chance. So, we really have to get a core understanding of the brand in place before we start our process.

For each of the Broadcast properties, it is identifying the core values that differentiate them in the mind of the consumer Branding then is simply a matter of creating communication that connects the broadcast brand instantly and intuitively to the targeted consumer.

CG. What is your advice to others practising?

Dynamite: Follow a clearly defined process. Be committed to what you have to offer. Don’t cut corners, as this is a profession that requires educating our clients about the value of branding. This is our constant struggle and quest. We have a talent pool of amazing designers in this country, yet, most of our clients prefer working abroad with international agencies. We need to be able to build trust, accountability and align as partners if we need to break that stereotype.

Issue 40-Motion Graphics Special

Published in Issue 40

We all have favourite TV shows and we passionately discuss the stories and characters of it. But sometimes, we tend to ignore the channel and its branding. Now with many different channels to choose from, we are experiencing many new branding overhauls to grab the audience’s attention. This issue features interviews with some of the well-known studios and teams of Motion Graphics from India and overseas, including FutureDeluxe Studio from London, Dynamite Design, Adaar and RocketScience Lab from India. It also includes digital artist, Renju MV, highlighting his exceptional control over the medium. If you are interested in moving design or animated content then this issue is a must-read for you!

 

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CURRENT ISSUE
Creative Gaga - Issue 47