Gabriele Brombin is an italian illustrator and graphic designer based in Milan.
Mixing analog and digital techniques, he shapes ancestral and futuristic worlds inspired by, among others, russian film-maker Andrej Tarkovskij.
Imagine the first morning of Time, in which a demiurge entrusted the vital message of violence and awe to a visual messenger, preserving the scheme of a will.5 hearts
Bureau of Visual Art is the archive of work by Matt Krygowski. A New Yorker living in the United Kingdom.
His work reminds me of Italian artist Gianni Bertini and graphic design guru Josef Müller-Brockmann.
BVA is a project I started to archive as much as possible of my experimental work. You won’t see actual comissioned or client work here, for that visit Madeform.
While documenting and experimenting with new ideas for me it’s also a way of changing my workspace, approach to working, documenting them and archiving.
Fairy tales do not exclusively belong to nurseries; all mankind – except those few who in all ages have comprehended their hidden meaning, and tried to open the eyes of the superstitious – have listened to such tales in one shape or other, and, after transforming them into sacred symbols, called the product Religion.2 hearts
Let’s start the Anime x Anime section with a post that will not scare anime haters away. This is a design blog and that’s exactly why anime should be in it. Graphic design, motion design and so much more inspiration form japanese animated productions. Talking about the choices, I’m not focusing on the series content, even if all of the selected are definitely worth watching, instead the spotlight goes on the colours, compositing, editing, sound, …
Ergo Proxy opening has a more classical graphic approach, big serif typefaces in overlay, pure film clutter and some video footage. Not so often seen in anime openings and therefore a nice welcome.
Psycho Pass (spoiler alert because it is the second op of the series) plays with lots of colours you will not find in the episodes, but describes very well the mood. The noise on the dark spots reminded me of Catch me if you can great title sequence.
Cowboy Bebop. Why? Because it can. Old school masterpiece, with such a nice Saul Bass cinema feel in it.
Death Note (op2) deservers a place in this selection because it brought a music language, editing and colour grading that others didn’t dare to show. Actually it’s arduous going wrong with Madhouse productions.4 hearts