Category Archives: Art Director

Art Director Phenix Miao helps raise thousands for Itron Battery Crowdfunding

Not many children can grasp the understanding of color and architecture the way China’s Phenix Miao could. At a young age, he was quickly able to spot the small details in furniture and props in daily life. It was a hobby and skill that he quickly realized could transition into a career. Working as a successful Production Designer and Art Director, Miao is now a leader of the industry in China.

Throughout his career, Miao has shown what a dynamic Art Director he is. With his work on films such as Shanghai Sojourner and Lottery, Miao’s attention to detail and vast talent is evident. He also lends his skills to commercial work, recently creating a series of promotional videos for Lepow and another for Itron Battery to promote their crowdfunding. With an outstanding number of viewers online, the Itron Battery commercial is one of his greatest successes in his esteemed career.

“Phenix is a very rare talent with both marketing and artistic sense. We worked closely on the Itron commercial, talking a lot about budget and production. Phenix was vital for the success of the commercial, and even found the location at a very affordable price, which helped the feeling of the film. He helped me to balance the art and budget so well. He is an expert when controlling the costs of everything. Phenix understands the difference between marketing value and artistic value, and he understands people. From his angle and visual aspect, he did a great job making the crowdfunding video look appealing. A crowdfunding commercial should be tangible and amiable, not chasing perfect as a normal TV commercial would. Phenix told me that crowdfunding is not charity, you need to let people feel this is a hopeful product and company. This outlook inspired the team. His outstanding communication skills allowed everyone to clearly understand what we were doing. He is a great leader and creator,” said Alice Fan, Producer.

The Itron Battery commercial advertises the company’s portable battery bank, the world’s fastest portable charger. It completely charges in 18 minutes, and within three minutes, one phone can be charged. The commercial showcases the product while still being comical and informative. It features two leading characters, one explaining the charger, and another looking to purchase one. They run through many different scenarios in which one may need a charger, leaving viewers both entertained and in need of the product.

“All the people that worked on this commercial were so professional. We did our work really fast, because we were so familiar with each other. From scene to scene, people just did everything very naturally. There was such chemistry, everything was as natural as breathing,” said Miao.

This commercial was not Miao’s first experience with a crowdfunding style video. He previously helped to raise $217,501 USD for Pivot Turingsense crowdfunding, achieving 274% of their goal, and for HiSmart crowdfunding, they reached 531% funded after raising $297,106, with the videos being the main source of awareness. That being said, the Itron commercial was by far the most successful, with hundreds of thousands of views online and reaching 706% of their goal by raising $289,472. It was also an Official Selection at the 2016 International Peace & Film Festival in Orlando, Florida.

“I still feel really excited about this commercial. When I hear so many people talk about it, I almost want to run up and interrupt them to let them know that I worked on it. That’s how proud of it I am. It is a big success in three aspects: art, commercial and crowdfunding,” he said.

Miao and the Director of the shoot, Peter “Zhen” Pan, had known each other for ten years when the opportunity to work on the commercial arrived. Miao is the director’s go-to art director and was the first person he reached out to. After reading the script, Miao accepted right away.

“Peter and I are golden partners. He knows I am a great Art Director that is full of ideas and the perfect match for what he wants. He just called me and told me the details about this project and we started working on it that same night. He always gives me enough space and time to design and develop my ideas. He fully respects me,” said Miao.

As the Art Director, Miao was in charge of the overall look for the commercial, selecting the best and most suitable artistic elements while leading the creative team. He designed a concise, natural, and clean aesthetic while controlling the style. He understands the difference between market value and artistic value, setting him apart from his colleagues. For this Itron commercial, he designed the color tone with Pan and knew to keep in mind the difference between a regular commercial and a crowdfunding commercial. He made sure to meet the requirements while planning the artistic elements around the brand, creating a higher brand value for the video. This allowed the product to stick in customers’ minds.

What was perhaps Miao’s most considerable contribution to the commercial, however, was finding the location of Elliston Winery. Miao enjoys working in historical settings, and the winery is no different. When decorating a historical set, Miao plays with the flavor that they bring to the table and plans everything around the atmosphere they possess. His passion for the location was passed onto the entire cast and crew. They treated it like their homes, making sure to respect every piece of furniture and brick in the building. Such respect for his setting and its parts is a main reason Miao is such a formidable artist and leader.

“I have been Phenix’s Assistant for years, but I also see him as my guide in my film career. He is not only in charge of the art department but is also a tremendous team leader. He understands style and perfectly controls the appearance of every image. Phenix is a great mentor and teaches me all of his techniques and knowledge. He is a talent but also very easy going. Phenix always knows how to take a director’s idea and turn it into something special. He knows how to make the effects suitable and always has new, practical ideas that come from his plethora of experience. I think the fact that he has also worked as a director and writer allow him to understand the role of the art director even better, and it sets him apart from the rest,” said Qin Zheng.

Watch the Itron Crowdfunding commercial here.

 

Photo taken by Peak City International Film Festival, Phenix Miao and John Whitaker

By Sean Desouza

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Art Director Hanna Petersson brings unique touch to packaging

Hanna Petersson is not like other art directors. She is constantly adapting, looking for a new challenge with each new day. Her style is influenced by her Swedish heritage. Scandinavian design is very scaled back, simplistic and focuses on form and function together rather than just putting things into a design solely as decoration. For Petersson, each part of a design must have a purpose, and if it does not, she knows exactly how to give it one. That is what makes her such an outstanding talent, and why she is known internationally for what she does.

At just 23, Petersson has put her artistic touch on some of the world’s largest brands. She has collaborated with many teams, creating imagery and customer engagement for Samsung, Swedish Match, and more. Her artwork captivates, and her individual exhibition at the House of Culture in central Stockholm garnered a lot of attention and earned her quite the fan base. She uses illustrations to tell a story, and uses her talent to help many brands increase sales.

“As an art director, it is incredibly important to research the client and the target audience and to create content based off of this that is rooted in facts and human truths. A design can look amazing, but unless that design is perfectly suited to the client and target audience the design is useless. What I need to make sure is that I always do my homework on whatever project I may work on, that I am passionate about it, and that I make sure that every detail is perfect before going into the physical production of the idea. The art director comes up with an idea and is in charge of directing it all the way from idea to finalized product. It is a great responsibility and a big challenge, but also incredibly rewarding and interesting to work on,” Petersson described.

Having worked with reputable retail agencies like WorkShop and Grey, Petersson also recently worked with AdPlant. With the company, she worked on a variety of projects to create visual development and branding for big companies, which will be released next year.  Although the official projects can’t be mentioned for this reason, Petersson’s work with the company astounded all she worked with.

“Hanna is an excellent creative talent. I’ve had the pleasure of working with Hanna as both an illustrator and a communication creative for AdPlant network. She is a quick, smart person who pays attention to details in her handicraft. She is a warm and kind person who will ‘run that extra mile’ to deliver pitch perfect creative work,” said Marcus Enström, Founder of AdPlant and Lead Creative.

Petersson’s work greatly impressed AdPlant’s client. Despite not yet being released, the project she worked on has already had a lot of success, and the client is looking to have similar projects follow this one. They know it will be a hit, and they want to work with Petersson and AdPlant again after such a successful collaboration. The product category is one of the most sold in Sweden, and the designs Petersson has produced are one of a kind. They will undoubtedly increase sales and attract new customers to try the product. Petersson knew exactly how to please the company and potential customers at the same time, which is quite the challenge for many art directors.

To do this, she first had to identify exactly what was needed. In this case, it was a series of packaging designs with a unique set of illustrations that she would produce. She then needed to create a new set of color combinations to be used that would not only communicate the right feeling, but also easily convey what the product is and what it stands for. According to Petersson, designing a series of new products within the same category means that they must all be similar to each other and feel like a series, but they need to stand out from each other and be the most unique at the same time. Finding that balance takes some time and a lot of work goes into just coming up with an extraordinary amount of different variations and suggestions that then will be used to decide exactly what the finished product should look like. The process took Petersson quite a long time, because the client wanted to make sure that they were a part of the process every step of the way and got their say in the final product. As Petersson is known for her excellent communication skills, this was not a problem, and she knew exactly what they wanted before they even had to say it.

“This was a blast to work on because I really got to improve a design style I had dipped my toes in not too long before. What was also great was that I knew that these designs would be seen by hundreds of thousands of people in their everyday lives and that my work would be one of the main reasons for the success of the products,” said Petersson.

After seeing Petersson’s previous designs, Enström approached the art director knowing she would be a necessity for the success of his upcoming project. Petersson had previously done a project where she designed and sold apparel through her own shop. These designs were unique, and the founder of AdPlant later found the project in an online shop and asked her if she was interested in working on a project using a similar style of design. Despite working on other projects at the time, Petersson said yes to AdPlant. She was immediately interested in working on the project when she heard about it, and wanted to work on a packaging design project that would be a vital part in the sales of a company. She knew she would be able to influence what the design of the product category could look like and innovate the category from what it was at the time.

“It was very nice to hear that a company was interested in my designs and talents and therefore I was very happy to work on the project from the start since I knew that they wanted me specifically and therefore trusted my opinions, which let me have more freedom in my work and to really push the designs further,” said Petersson. “That I got this responsibility was a great honor and it really allowed me to trust more in myself and my skills. Not only was this a great project from an art perspective, but also from a work experience perspective as I got to communicate with a very large, international company and that they got to see my work directly,” she concluded.

Petersson’s advertising experience and her natural artistic talents make her the perfect art director. She will undoubtedly continue bringing success to anything she works on, and is definitely one to watch.

Art Director Ji Young is vital to success of new film ‘The Sacred Mushroom Edition’

“There are few films that show how much the art department pays attention to details. In the film Room, the art department team studied the sun’s movement and bleached the part of the wall where the sunlight comes through the shed’s skylight and hits. They believed most of the objects inside the room should have some sort of stories because the five-year-old main character personifies every object. In Danish Girl, the set starts with the gloomy grey bedroom in Copenhagen where the main character couldn’t find his real identity, and then it shifts to a colorful room with beautiful floral pattern wall and Art Nouveau style architecture in Paris where he finds his real identity as a woman and starts blooming. I love art directors who are storytellers, who transfer the words into imagery by conceptualizing, using imagination, and creating the mood with emotion, style, and feeling,” said Young.

When Ji Young Lee talks about what it is to be an art director, one immediately understands that this is someone who not only loves what they do, but someone who appreciates every intricacy of their craft so fully that their passion and commitment are unrivaled. Young wanted to be an art director because she wanted to create a world that affects people who are watching the film; she thought it was fascinating that she could make the background world that helps people believe the story, whether it is real or fantasy. This is exactly what she does, and this vision is evident on every film that features her name in its credits. Director Ryan Betshart says without Young, he would not have the success he does today.

“Ji was my art director for two projects, the first being Paper Chase, a music video that has played Ann Arbor Film festival, which was a highlight of my career. Ji did so well and was so exciting and thoughtful to work with that I hired her for my next short film The Sacred Mushroom Edition,” said Betshart. “Working with Ji helped my career so much so that I intend on hiring her again on all my future projects. Her attention to detail is second to none – no one has an eye for set design like her – meticulous yet on budget and fast, a true professional. Her communication with the other departments, as well as with her own crew is clear and effective in ways I have rarely seen on set. Things get done, and so quickly and quietly one would think magic was being used to make everything perfect. Does this make Ji a magician? Does she have magical powers like a sorcerer? I’d say yes. Everyone on set respects her. The actors love her. She is the first to show up and the last to leave. I wish I had met her sooner, my previous films would all have done much better!”

Such accolades, although flattering, are not what keeps Young going. For her, it is all about her work. The Sacred Mushroom Edition is at the beginning of its festival route, and has already seen tremendous success. It premiered at Portland Underground Film Festival on April 9, followed by the prestigious Mammoth Lakes Film Festival on May 25, the Moviate Underground Film Festival in Pennsylvania on May 28, and internationally at Winnipeg Underground Film Festival in Canada on June 1. None of this could have been possible without Young’s artistic eye, and yet, she remains humble.

“It feels very surreal and exciting to have the film be doing so well. I don’t know much about experimental films, so I had no idea what kind of films our film was going to get chosen with for the festival. I’m just very glad that now I got some experiences in experimental film, which was the world that I never got to explore before and got these great festival opportunities by working with my great friends,” said Young.

The Sacred Mushroom Edition is an ode to the 1978 version of Kenneth Anger’s film Inauguration of the Pleasure Dome and its peculiar use of Electric Light Orchestra’s album ‘El Dorado’ over images of a ritual orgy between gods. The Sacred Mushroom Edition finds two fallen angels arguing over ELO and their lead singer Jeff Lynne’s affiliated super group The Traveling Wilburys – and his connection to the dark side.

“I watched the original film and loved how stylized the set design was. It was visually stunning and very artistic. Most of the films I’ve worked on wanted the art department team to stick to what’s exactly written in the script in terms of creating the set, but Ryan loved to hear about team members’ interpretation on the script and discuss with them which sometimes led to something unexpected. This film helped me to use more imagination and understand sometimes the filmmaking is less about form or content than it is about context,” said Young.

Although Paper Chase was a music video that focused on more digital manipulation of the video with a minimum set, The Sacred Mushroom Edition was the exact opposite. The film required two different sets, with strong contrasts between the two. The film starts in a backyard, and then it transitions into a darkroom. For the backyard, Young made some colorful choices for the set dressing, because she wanted to create brightness and lightness. For the dark room, she wanted to create some intimate, gruesome and cluttered environment, and therefore put different materials and furniture that had great textures for the set dressing.

“As this film is an experimental film, what it says is very abstract and poetic. The good part is it’s very artistic and unique film, but it could be difficult to understand for the audiences who used to watch the traditional narrative films. Therefore, my job was to provide some sort of device that would allow the audience to connect themselves with the film, so they don’t feel total alienation,” said Young.

There is little doubt as to why Young is considered one of Korea’s best recent art directors, and even less doubt that we will continue to see her name attached to many high-profile l films for years to come.

Art Director/Motion Graphics Designer Ilya Tselyutin’s Innovative 3D Revolution

Art Director/Motion Graphics Designer Ilya Tselyutin specializes in a field of media technology so advanced that it almost seems he’s straddling a unique cusp between day to day creative facts and out of this world science fiction. Already recognized as a master in his field—a fast moving discipline that combines graphic design and animation in motion picture title sequences and television commercials—Tselyutin also excels in the exotic field of spatial augmented reality.

“This is also known as projection mapping, video mapping and 3D mapping,” Tselyutin said. “One of the earliest public displays of projections onto 3D objects was Disneyland’s Haunted Mansion ride back in 1969, but it wasn’t until the early 2000’s, when more advanced tools and software became available, that artists began using projection mapping in artwork.”

“It is a special technology used to display moving objects on various surface as a video projection, so, for instance, an entire building can be turned into a multimedia installation and become a part of a compelling story.”

The California based Tselyutin’s singular palette of skills, both as a creative artist and technical innovator, made him particularly well suited to explore this territory, a long-standing interest which he first he became involved with as a university student back in his native Russia. His fascination with 3D graphics, animation and design coincided with formal training in computer science and provided an ideal confluence for opportunity when the technology first arrived in the country in 2009.

“I was working at Channel One Russia as a broadcast designer,” Tselyutin said. “I was constantly exploring other areas of 3D motion graphics and the ways it can be implemented. And when I heard the Radugadesign agency was looking for 3D professionals to work on something that was quite new and challenging I was eager to try it.”

Audi-3.jpgAudi-2.jpgThe Moscow agency was the perfect new professional home for the talented, ambitious Tselyutin, and he quickly distinguished himself in the vital new field. “I saw great potential in this and left my job at the TV channel to focus solely on 3D mapping and augmented reality,” he said. “And 3D mapping technology was unheard of in Russia when we created the first car projection show for Audi in the country.”

Created for the 2011 Audi Car Design Awards the spot featured graphics that changed the colors and tires of a 3D car model and established Tselyutin as a fast-rising 3D sensation (see it here). “I took part in all of the 3D mapping projects while working at Radugadesign,” Tselyutin said. “We worked on commercial projection shows for such clients as Audi, Samsung, some national mobile operators and many others.”

 Tselyutin’s dedication and groundbreaking achievements benefitted everyone involved. “Working with Ilya was always a very pleasant experience,” Ivan Nefedkin, Radugadesign founder-CEO, said. “He was one of very few professionals in Russia who completely understood the specifics of 3D augmented reality. There was no really a university degree for what we did, so there were only a few people who could do the job. He always went extra mile to support our team by overtaking the hardest tasks to make sure the project is delivered on time—on the Audi projection show, he would stay up working all night. Ilya played a critical role in establishing Radugadesign as one of the country’s leading media agencies.”

Tselyutin’s professional reputation as an innovator and visionary quickly spread throughout the international media world. “Right after we produced that first car projection show, many agencies in Russia and abroad started implementing the same technology,” Tselyutin said. “I was invited to produce a projection show by the National Institute of Technology Kartanaka, Mangalore, India, who were quite impressed by what we were doing in Russia. I began receiving many offers from all over the world, and decided to move abroad.”

Currently residing in Hollywood, where he serves as Art Director/Motion Graphics Designer at the prestigious Trioka agency, Tselyutin is still breaking new ground, always expanding and elevating his technique. “Working on those challenging projects helped me master a great variety of new skills,” he said. “The most important knowledge I gained was learning how to successfully generate dynamic visual effects on static footage for a completely immersive effect. This proved to be very useful later on in my career,

Taken with an already impressive roster of achievements, the influential Tselyutin’s future potential is limitless.

“Ilya has a unique set of skills,” Nefedkin said. “From the advanced technical knowledge he acquired studying computer programming to his outstanding graphic design skills—he always came up with new creative ideas, challenged himself and the whole team, and pushed the boundaries of what was possible. Our clients loved it. He never ceased to amaze us with his both creative mindset and perfect technical execution.”

 

“Couts” Diego Coutinho celebrates 50th anniversary of D&AD with Wish You Were Here?

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Coutinho and the crew working on Wish You Were Here?

Diego “Couts” Coutinho did not always know he would eventually be considered a top art director and motion graphics designer in his country. He started working at the age of eleven, fixing cars. A year later, he began working in a chair factory. During his time there, he learned what hard work really was, and what it meant to succeed. At the age of 20, he went to school to study graphic design. He was the first in his family to go university.

Despite his humble beginnings, Coutinho quickly became one to watch. He has been recognized worldwide for his talents, winning awards and festival selections. Yet, even with all he has achieved, for him it is still about doing what he loves.

“The art director is one of the people in charge of the project, so if it goes wrong, it’s your responsibility, but if that’s okay you’ll get your laurels too. In this position, beyond the possibility of having more space to act, I feel very stimulated with the possibilities to explore my own ideas and solutions for the project,” said Coutinho.

Coutinho’s success continued when he worked on the film Wish You Were Here? to celebrate the 50th anniversary of the famous D&AD Awards for design and advertising. Design and Art Direction (D&AD, formerly known as British Design & Art Direction) is a British educational charity which exists to promote excellence in design and advertising. Widely considered one of the most prestigious and difficult-to-win awards in design and advertising, D&AD celebrates the finest creativity each year across a diverse range of disciplines.

“It’s a dream to be part of the 50th anniversary of such an important festival and to play with such groundbreaking pieces of art direction and advertising. So, for a festival of such importance like D&AD to give us the opportunity to promote next year’s awards is fantastic,” said Coutinho.

The spot summarizes the five decades of the awards in a creative and unusual way, recalling memorable pieces of design and advertising that won the coveted pencil-shaped trophies. The over 20 references Coutinho’s team picked from the immense D&AD archives were reinterpreted, using various techniques like 2D and 3D animation, stop-motion, live-action and puppetry, all the while swapping characters and narratives between the ads. The resulting fragments were sequenced in a free-associative way, with elements from a scene “trespassing” onto the next creating a flowing, surrealistic narrative that reflects the ambiguous, unpredictable nature of memory.

“It was great to work with such creative freedom. Of all the work I usually do, this one was like the ‘cherry on top’ because of the creative freedom we had and all the extra fun we had along the way,” said Coutinho.

Wish You Were Here? went on to win multiple awards, including one from D&AD itself, the Wood Pencil for Branded Film Content & Entertainment online. It also won the Silver for Visual Language and Graphics at the Cannes Lions, the Gold for Title Sequence at Ciclope 2015, the Bronze in Motion Graphics at LIA, and the 2015 Merit Award for Broadcast & Moving Image/Animation at One Show.

02“I like the touch of mood that is important for the pacing of the film. I believe that it is fun for people in the field, who know the history of design and advertising, to try to identify all the references,” described Coutinho. “And receiving awards in many festivals for this project was an honor and a privilege.”

In this movie, Coutinho worked on the creative team, responsible for creating what would happen in the film. The storyline connects one commercial into another, and he had to think about how to merge two or three commercials in just one shot. After this, he created motion graphics and designed the posters of the movie.

“We began exploring ideas and concepts of what could turn out to be the film. After many suggestions, we got the proposal that summarizes, in a creative and unusual way, five decades of the Awards, all the while recalling memorable pieces of design and advertising that won the coveted pencil shaped trophies, mixing the commercials in a not your typical look-back piece, however,” he described. “The biggest challenge was to implement the concept of ‘let’s put mixed commercials in one spot’. The answer was gradually emerging based on associations, sometimes associations between elements in each commercial, sometimes in action or even free associations.”

The result is not a movie to be viewed from the perspective of the common market, in which technical elements as a clear identity, typesetting, and color work clearly permeate throughout the video, according to Coutinho.

“The final product asks for a moment of questioning about what is happening in the video, a fact that is obvious when we pay attention to the way how the track was built,” he said.

To create the posters, Coutinho used the same logic that was used to create the movie. He picked over some references from the D&AD archives and reinterpreted them in a fresh new way. The result of the posters come from mixing references of the Wish You Were Here? campaign, and other posters that were awarded in D&AD in the past. He used some materials that had been used in the creation of the short, and kept the references consistent with the identity of the campaign.

“Highly motivated, Diego has an amazing professional attitude that always brings a huge production value to any project he is involved,” said Diogo Kalil, a motion designer and 3D animator on the project.

You can view Coutinho’s work on the posters here, or check out the full video here.

POETRY IN MOTION Animator Angela Yu’s Compelling Vision

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Animator Angela Yu: “I love telling stories carrying a message that matters to people.” (photo courtesy of Angela Yu).

With a dazzling visual style, an acute eye for design and a keen ability to overcome unexpected challenges, animator-art director Angela Yu’s boundless technical capacity and artistic creativity are remarkable. Moreover, she has an innate knack for approaching projects with a transformative originality that frequently redefines and improves upon the initially proposed concept.

Yu’s spent her entire life preparing for this, going all the way back to her childhood in Bejing, China. Yu became fascinated by comics, anime and manga books at an early age, covertly defying her parents’ strict bedtime rule to read them by flashlight under her blanket. “I always loved to draw and became obsessed with beautiful things and I wanted to know how to create things like that,” Yu said. “Manga books were my earliest inspiration for drawing—I’d doodle the characters all over my text books. I also loved watching animation, especially Japanese anime—“Dragon Ball” and “Sailor Moon.” I still watch anime these days, such as “One Piece.”

“I grew up in a very traditional family in China, and though I dreamed of being a Manga artist or animator as a kid, I never thought I’d have a chance to do it in reality—because for all my life I had made decisions based on whether or not they would impress my parents,” Yu said. “But when I was 22, I came to America and was studying at Michigan State University, just as my parents planned. This gave me a chance to view my culture from a distance, with a different perspective, and it gave me the space to think independently and the courage to pursue what I really wanted for my own life.”

Once that decision was made, Yu, with an MA in advertising from MSU, did not hesitate. “I studied Motion Graphic Design at the Ex’pression College for Digital Arts. Since I graduated, I’ve worked at studios and agencies such as Goodby Silverstein and Partners, Oddfellows, First person. And I worked on projects for clients like Google, Yahoo, Cisco, Comcase, NBA, Motorola, GE, Adobe.”

“I love telling stories carrying a message that matters to people. It needs to be meaningful. It can be either an artistic short film or a commercial project. As long as I feel what I am creating has a purpose, I find it fulfilling,” Yu said. “It’s all about how strongly I believe in the message I work on, even on a branding video for a digital product. If I believe the message in the video will make a difference to the brand, to people who work for the brand, then I enjoy what I am doing.”

Once Yu brings her talent to bear, the results are impressive. The ability to enhance and elevate has been a hallmark of her career; if Yu is brought in to consult, she’ll envision something that takes the entire project to a higher level; when Yu finishes a task, it often assumes a life of its own, garnering more notice and appreciation than anyone expected, whether a promotional film or a rock music video.

As Dorry Levine, Digital Media Strategist at ReThink Media, describes her: “Angela was easy to work with, very accessible, met every deadline, was flexible with our ever-changing requests, and turned out a phenomenal project that people are still talking about. The video she animated for us was even covered by the New York Times. I’d work with her again in a heartbeat!”

Yu’s artistic vision is a marvel in its own right. Her gorgeous animated short, “This is California,” is a perfect example of the animator’s rich aesthetic. With stunning visual design and flawless animation, it depicts some of the Golden State’s most iconic spots in an arresting, irresistible form that earned Yu the Best Animation award for 2015 at the IndieFEST Film Festival.

Yu’s already impressive roster of successful jobs with some of the world’s biggest companies underscores both her illimitable potential and singular gift for expanding the parameters of any design or animation undertaking. “Angela is the type of person that makes the seasoned artist step up their game, while also reminding everyone what that fire looked like when they first started,” said Mike Landry, Creative Director at Goodby, Silverstein & Partners.

Most importantly, Yu loves what she does: “I see animation as music written in pixels. I don’t play music very well, but I am fortunate to find animation as the medium to express my creativity,” Yu said. “To this day today, I still enjoy spending the whole afternoon nerding out a motion curve in the graphic editor. It is a very ‘zen’ feeling. I enjoy my craft, and I never stop creating original content. I want to keep developing myself as a better animator and designer.”

Coca-Cola 50th Anniversary Turkish Ad Campaign features the refined talents of Art Director M. Cagri Kara

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Turkey’s 50th Anniversary Koka-Kola ad campaign features the outstanding talents of art director M. Cagri Kara

 

The accomplished art director, M. Cagri Kara, has established himself as a valuable talent in the advertising industry, and is known for his brilliant, visually stunning work with brands such as Audi, Lamborghini, Frito-Lay, FOX Television, Yamaha and Coca-Cola.

Kara’s art direction was on full impressive display with an ad campaign celebrating the Coca-Cola Company’s 50th Anniversary in Turkey.

The campaign advertised the global beverage corporation, which was founded in Georgia in 1892, and was aimed at representing the special Turkish way of optimism. The prints changed the spelling and logotype of the iconic soft drink to Koka-Kola to befit the brand’s pronunciation and spelling to Turkey’s vernacular.

The campaign’s theme encompasses security, positive tolerance and the healthy concept of living in the moment opposed to remaining stuck in the past. The ideas of optimism were linked with the Cocoa-Cola philosophy of promoting happiness, and ultimately reached the targeted Turkish audience with great success.

“The campaign’s message was clear. I didn’t want to use too many graphic elements for the print version, or in the television commercial,” said Kara. “Instead, we opted to use optimistic Turkish words that were positive, clear and strong, as in the word ‘mutluluk,’ which means ‘happiness’ in Turkish.”

KARPAT, a leading independent advertising agency in Istanbul, produced the campaign. KARPAT’s Creative Chairman, Karpat Polat, said, “Cagri was undeniably a lead contributor to the success of our company and in particular, the Coca-Cola 50th Anniversary commercial campaign.”

Prior to hiring Kara at KARPAT, the pair worked together at DDB&Co. Istanbul Group, where Polat served as President and Chief Creative Officer, and Kara, as an art director.

“From the inception of the Coca-Cola project to its completion, he [Kara] was fully attentive and engaged throughout the process, producing fantastic results day after day that led the campaign to wide acclaim and roaring success,” Polat stated.

The Coca-Cola advertisements were shown on live TV and spanned billboards, bus shelter ads and print ads featured in many magazines, each emphasizing Coca-Cola’s trademark and their stand-out color, red.

“Coca-Cola’s red is already a pretty strong reminder for the brand,” Kara said. “Because of method, our point became very clear. Instead of being overly descriptive, we only used Coca-Cola’s iconic red, their very recognizable cans with the letter ‘K,’ and the positive, optimistic words to work for us. In this case, less was very much more.”

Kara’s work on the Coca-Cola 50th Anniversary campaign was immediately well received, earning him the distinguished 2014 Crystal Apple Award for Best Integrated Campaign for his work.

Regarding this achievement, Polat explained, “This is an enormous honor, even for an art director of Cagri’s caliber. I can positively state that we could never have achieved this without his leading expertise and creative vision.”

In addition to Kara’s success with the Coca-Cola campaign, the prestigious art director has also been awarded a Crystal Apple Award for Most Creative Social Media Campaign for his work with the cosmetic brand Polisan, and the Cannes Lions Bronze Award from Finansbank’s “Evolution,” a 2013 Cannes Finalist.

“As his multitude of impressive credits clearly indicates, M. Cagri Kara is among the most sought after and prolific art directors working today. His aptitude for visual design and aesthetics is second to none, and his instincts for delivering the best work possible for a given project position him as a formidable talent nationally and internationally,” Polat said.

For more information, visit: http://www.cagrikara.com