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The following news articles are geared toward students and other professionals.
Design Visualization Firms
How we take on the challenge of creating a brand identity Print E-mail
Tuesday, 26 April 2016 21:08

Finding a way to tell a story through a memorable campaign is the goal for every project we work on at Neoscape, and it’s a process that yields the best results when we work across our various areas of expertise.

“That might mean our 3D team is enhancing graphic design work or our filmmakers bring a new perspective to an interactive project,” says founder Rob MacLeod. “Our clients, employees and the company as a whole benefit from this collaborative process.”

Whether we’re using new technology like virtual reality to market a luxury redevelopment in Washington D.C. or mocking up ads for a mixed-use development, we partner with clients to determine the project’s unique brand and how to best reach the right audience.

That was our approach as we began working with Urban Visions, a developer of sustainable real estate that is creating a new southern gateway to Seattle. Located on the edge of the city, the mixed-use development is a seven-building, seven-acre property with more than 1.2 million square feet of office space. Urban Visions is looking for tenants to partner with in the development and design process, so that the result is custom.

The project isn’t going to be a typical office park – and neither is its name: the single letter –S. “We wanted people to hear about S and be enticed to learn more. They might ask, ‘What’s that?’ because they can tell it’s a really unique offering. Neoscape helped us create the logo and provide messaging along with ads and a website that would match the project’s unique brand,” says Broderick Smith, vice president of Urban Visions.

To answer the question “What is S?” we needed to find the right thematic balance while embracing the project’s location – both its historically industrial neighborhood as well as access to the water. The campaign was an opportunity for our 3D and graphic design teams to collaborate, bringing their strengths together to create a digital mockup and work together during the process to bring the design to life. The result was a series of three ads with different themes that explore the most important elements of the project.

First, we took a macro approach and emphasized the themes of nature, sustainability and how Seattle is part of the brand identity.

 

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In the second ad, we wanted to address the themes of transportation, since the project is highly accessible and will serve as an entry point to the city.

 

2016_01_27_UrbanVisions_S_FullPageAd_Alaska2

 

The third ad we designed addresses who will be working at S, offering a glimpse at everyday life in the building.

 

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“One of the reasons we chose to work with Neoscape is that they create memorable images and messages. We couldn’t get their work out of our minds. That’s what we wanted for this project – to create an ad campaign that would leave a mark and keep people asking about S,” Smith said. As a series, the ads work to address the key themes behind Urban Visions’ plan for S while embracing what makes the project unique. For a mixed-use development with so much to offer potential tenants, focusing on the possibilities and creating a bold graphic will grab a reader’s attention, leaving them with a memorable image and a desire to find out “What is S?”

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VFX mixologist Jono Harris joins Squint/Opera Print E-mail
Thursday, 21 April 2016 23:00

Jono Harris top

Jono Harris is a post production designer, vfx and compositing specialist and all round vfx mixologist. He’s recently joined Squint’s studio having worked at several other well-known vfx and sfx studios around the globe.

Tell us a bit about what you do and what your role at Squint involves.

I am heading up a new post production and visual effects team at Squint/Opera which combines practical special effects with computer generated visual effects. We will be focussing on film, television and advertising and embracing every aspect of vfx design. It’s not just vfx though its about squeezing out all the creativity in our people via various tools and mediums, vfx just happens to be one of our strengths.

You grew up with both parents working in film; your Dad runs his own sfx company and your Mum was head of film production at the BBC. What was the experience like for you as youngster and how has it shaped your own path into the world of film?

It was brilliant really. They were always busy but it was a lot of fun. My Dad’s special effects company was very close to my school so I used to hang out there a lot, wiring pyrotechnics and turning on gas bottles. My school plays were full of pyrotechnics and dry ice and I used to play a lot of practical jokes with sugar glass bottles and rubber bricks, which was always fun.

Did your Dad’s company work on anything we’ve heard of?

Yeah, they did a lot of stuff for British TV in the 80s and 90s, especially shows like London’s Burning, Hornblower, Casualty, Bugs, Demsey and Makepiece and more recently Dr Who and Poldark.

Tell us about your own journey into vfx? Was it shaped much by your experiences growing up?

I first knew I wanted to be a vfx artist when I was 15, my Dad took me to a BKSTS (British  Kinematograph, Sound and Television Society) seminar at Pinewood studios, all the greats were there including the legendary Ray Harryheusen. I knew there and then it was what I wanted to do, after that, all my studies at school and university were focused on helping me get into the industry.

You’ve been working in the industry since 2007, tell us about some of your highlights so far...

After graduating and leaving my Dad’s business, I focussed on compositing. It was great seeing things for the first time, before anyone else and being able to travel around the world and work. I got the privilege to work in some great studios such as ILM and Weta on films like Harry Potter and Superman: Man of Steel.

Now, I am often back on set working with my Dad’s company, helping to combine more practical special effects with computer generated wizardry. For me this is the dream, combining the best of both worlds.

What made you decide to come to Squint?

I already knew Jules and Ollie (Chief Executive and Chief Creative Director and two of the co-founders of Squint/Opera), we decided it was something we wanted to do. Squint has just launched it’s own TV series, Messy Goes to Okido and has been working with film in various forms for over ten years, much of the software and skills are transferable so it made it a lot of sense. Working on feature films and tv is a bit different but the aim is to bring some of the lessons from the film-industry to Squint and vice-versa. For example, the pipeline is slightly different but we have been developing a system where we can switch processes for different types of clients.

What post-production techniques get you most excited?

Anything that combines practical elements with leading-edge computer generated effects. In the studio, we have also been using motion controlled sfx elements for vfx.

Is there anyone you have met or worked with who has particularly inspired you?

I met Dennis Muren at a BBQ in Vancouver recently. He’s just a legend, he’s done it all, 9 Oscars and is a really nice guy.

You haven’t been working with Squint long but already you have some exciting projects in the pipeline, tell us more about these.

I can’t say much at the moment but we have projects on the go with the BBC and Channel 4.

To get in touch with Jono and find out more contact This e-mail address is being protected from spambots. You need JavaScript enabled to view it .

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Building Begins on Doodle Development Print E-mail
Monday, 18 April 2016 23:00

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We've been working on a project to inhabit a row of disused railway arches just off Tanner Street in London Bridge, adjacent to the highly reputable Maltby Street market, and we've now been given the keys!

After mourning the loss of the Doodle Yard at Parkgate Road we hope to be able to recreate something emulating its atmosphere. We will be filling the chasm of space with a mix of vibrant independent businesses without disturbing the original Victorian architecture. The project will also provide benefits to the local community through the generation of a weekday and evening economy. 

Work on the site is due to start soon - we'll let you know when the magic happens...

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Eye Present to co-produce Tomi Ungerer's Flix Print E-mail
Thursday, 14 April 2016 23:00

FlixIceCream

Eye Present have just entered a development agreement with Pictor Productions to co-produce brand new animated content based on Tomi Ungerer's book Flix, which is about a young pug dog who has been raised by cat parents in Cat Town. The animations will be created by Eye Present, which was formed by Genevieve Dexter and Squint/Opera and is part of our London studio. 

Tomi Ungerer commented: “Flix is about making the best of your differences—we are all equal and we are all different. Everyone has something to offer. Flix shows us that with comedy you can overcome any dogstacle.”

Aria Ungerer noted: “Looking through all of Tomi’s work, Flix is the book we all identified as having the most potential. The premise provides endless humour and inventiveness for this little dog living in the world of cats and of course contains allegories that touch every kid.”

Jules Coke, CEO at Squint/Opera and producer at Eye Present, added: “We are working directly with Tomi and Aria in the development of Flix, and taking early development materials to the Animation Production Day in Stuttgart and MIFA in Annecy this year to get market feedback and to find the right format and target for this title, we are currently working on Flix as a character and some story lines. His world is already very clear.”

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Co-production deal signed for new children's animation Print E-mail
Thursday, 14 April 2016 23:00

FlixIceCream

Eye Present have just entered a development agreement with Pictor Productions to co-produce brand new animated content based on Tomi Ungerer's book Flix, which is about a young pug dog who has been raised by cat parents in Cat Town. The animations will be created by Eye Present, which was formed by Genevieve Dexter and Squint/Opera and is part of our London studio. 

Tomi Ungerer commented: “Flix is about making the best of your differences—we are all equal and we are all different. Everyone has something to offer. Flix shows us that with comedy you can overcome any dogstacle.”

Aria Ungerer noted: “Looking through all of Tomi’s work, Flix is the book we all identified as having the most potential. The premise provides endless humour and inventiveness for this little dog living in the world of cats and of course contains allegories that touch every kid.”

Jules Coke, CEO at Squint/Opera and producer at Eye Present, added: “We are working directly with Tomi and Aria in the development of Flix, and taking early development materials to the Animation Production Day in Stuttgart and MIFA in Annecy this year to get market feedback and to find the right format and target for this title, we are currently working on Flix as a character and some story lines. His world is already very clear.”

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Copyright © 2016. Robert Hewitt | Clemson University professor of Landscape Architecture.
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