For a while now I’ve been collecting songs, gathering them into playlists, and I think it’s time I start sharing.
A year or two ago, Designers.mx was an incredible source of music inspiration that I listened to heavily but never had the chance to contribute to. Their curated, design-focused mixtapes had 10 tracks and custom artwork. After a year hiatus, they’re finally rebooting, and I’m excited.
In true Designers.mx style, this first mixtape of mine is 10 tracks with custom album art, titled “Positive Brooding.” A collective of songs I’ve been into lately, this playlist embodies productivity through darkness. The feeling of disappearing into the night while everyone else is asleep and coming out with an amazing piece of work.
Mixtape No.1 – Positive Brooding
'The Wheel' – SOHN
'Fall In Love' – Phantogram
'Strangling You With the Cord' – Lapalux
'Hat Trick' – Empress Of
'Arabella' – Arctic Monkeys
'Doses & Mimosas' – Cherub
'About You' – xxyyxx
'Waiting Game' – Banks
'The Mother We Share' – CHVRCHES
'Miasma Sky' – Baths
This matte black, full door graphic was the most technical vinyl installation I’ve done to date, and I’m really proud of how it came out.
The threshold this graphic creates sets the tone for Stereo Image’s sense of quality, and an inspiring space I’ve seen Nick carefully curating first-hand over the past few months.
Here it is, the long-awaited ZX concept video. This first iteration of ZX starts with a minimal geometric form, built upon with explorative three-dimensional color & an accompanying interactive soundscape.
Through use of sight & sound we are able to define the intangible limits of interaction above the Leap Motion, while also encouraging upward movement & kinetic/sonic exploration. Future versions of ZX will iterate on functionality, levels of engagement, & interactivity.
We decided to take a different approach this time, focusing in on a simple function (3D color + sound exploration) and produce a concept video interviewing collaborators and sharing our process.
For the curious, here’s a recording of what the installation sounds like.
Special thanks to Champlain College for help making this exploration possible, Leap Motion for their interest & support, and Friends of Friends + Groundislava for music usage of a perfect track for the video.
More at craigwinslow.com/zx
Last month we designed, fabricated, & installed this custom illuminated display booth for DPG in Boston.
You can find some photos of the finished product on my site.
During the final construction of the project, less than a week before it was due in Boston, we needed to change our construction location. Here’s a little timelapse video from those last few crazy days to pull it all together!
Justin Kuzma did an excellent job as usual with electrical, engineering, and helping me with fabrication, as did our production intern Meredith.
Special thanks goes out to Nicholas Giordani (Sound Designer of ZX) who collaborated with me to co-create audio for my new logo animation, as well as an original track for this video.
ZX: Explore an interactive, collaborative, indoor/outdoor audiovisual experience. Your hand movements unknowingly intertwine with someone else’s voice to co-create a dynamic audio & visual immersive.
This 10-foot tall installation is designed to be weather proof, easily transportable installation for multiple locations, so expect to see more of this form iterated on in the future. ZX is built using Processing, Modul8, & MadMapper, with interaction made possible with the Leap Motion Controller.
The first installation kicks off this Friday at Champlain College’s Perry Hall at 5:30pm and I’m very proud to be a featured alumnus for the event.
After an incredibly busy January, I’m looking forward to taking next week to reflect, catch up on a hefty backlog of blog posts, and get new content ready for my new site launch!
I’m beyond excited for what 2014 holds. -Craig
Had a fantastic time working in the studio all this past week, sharing a desk with my great friend and very talented San Francisco based illustrator Michael Ackerman.
This is part 2/3 of my recap series inspired by attending INST-INT last month!
Alex discussed how we used to consume media in large groups in the theater on large screens. Then we brought home televisions for smaller groups of family and friends. Since then, media consumption has become an increasingly intimate individual experience, with screens shrinking down from computer, to laptop, to tablet, and finally to phone. The next step toward intimacy is to actually integrate them with our vision through VR tech.
He stated that our technology is growing faster than we can understand it, isolating and disrupting our physical human experience.
Whether or not you think this is a good thing, it’s certainly an inevitable future with so many VR consumer products hitting the market: Google Glass, Oculus Rift, OMNI Treadmill, Steam’s rumored VR innovation… these are all products that are augmenting, and even replacing, reality.
Sure, VR tech has been around since the 60’s and its popularity ebbs and flows, but the difference this time is that the world is actually ready. We’ve been primed for this by gradually closer and more intimate screens.
As screens get closer to our face, we see less of the world around us.
The concerning part is losing reality, because… well, real life is important. Entertainment began with stories told around campfires, performers on a stage. Very human connections. The human experience is important… but the human experience is also becoming digital.
Finding new ways of accentuating physical space with digital content (and for that matter, providing digital content a physical space) can ease more people into considering (and accepting) the possibilities of virtualizing reality.
To do this we need to stimulate more senses than sight and sound alone, and some people already are. In Eric Brockmeyer's talk, he shared how Disney Research developed a digital surface that gives different texture, and tactile response. Eventually we'll need to tackle all of our senses, and smell and taste will also need to be considered to create complete immersion.
Too future? Probably not.
Looking at how flavoring is artificially formulated for food, and aromas are synthesized for perfumes, I imagine creating the “RGB of taste" or "CMYK of smell" isn’t too far off.
These are all exciting doorways to create entirely new human experiences.
Let’s just be sure to remember the importance of that human part.
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In the third and final part of this series, I’ll dive into my favorite theme that emerged at INST-INT: magic, and the balance between a polish-perfect illusion and a drawn-back curtain.
Stay tuned for PART 3: Magic vs. Seams.
If you missed it, here’s PART 1: Break, Embrace, Repeat.
If you’re enjoying these posts, please leave a comment!
I’m planning similar recurring blog segments for 2014.
This first post is going to focus on projection mapping as a medium, its vast capabilities, and tight limitations. To kick this off I just need to say this: those capabilities are indeed vast.
You can create anything from subtle surface animations, to massive dimensional illusions. Although these possibilities seem limitless, there are spatial restrictions: you have to project on an actual object. You simply aren’t going to get a fully dimensional hologram (yet). Mary Franck summarized this best in her talk when she said "linear perspective only works when content is at a distinctive position and the perspective is controlled."
This means that an illusion meant to be seen from one precise position will be broken if seen from any other point. By moving even slightly to one side, the immersion of an experience can be shattered.
Even the popular, and fantasticly well-executed project, ‘Box’ suffers from this; if you were actually standing in that space, the magic would be broken since you aren’t looking precisely from the tracked camera’s position. Since ‘Box’ was released as an online video, they get around this by having exact and complete control over viewer perspective.
However, by filming an ‘onlooker’ in the video and labeling it as “all-real, no special effects,” they’re essentially leading people on to believe that if they were to step into the space, the projection ‘magic’ would still be fully dimensional. To be clear, I’m not discrediting their amazing work, this piece certainly breaks new grounds and pushes the expectations of the medium.
With any innovation, it’s important to look for inspiration outside the medium we’re designing for. Add new features, reduce until one simple function remains, push something until it breaks; only by knowing the current limits of a medium, can we begin to break them.
The next step, a very difficult one, is allowing people to actually be there to experience it.
With rapidly emerging consumer Virtual Reality products like the Oculus Rift, Google Glass, and OMNI treadmill, what happens when we begin to push these limits so far that they begin to replace our current reality?
These are questions I’ll be exploring in PART 2 of this INST-INT recap, Blending Reality.