DIMENSIONAL TYPOGRAPHY & 3D TYPE SYSTEMS
PROJECT
SUDAN ARCHIVES — YEA YEA YEA
LYRIC VIDEO
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BRIEF + APPROACH
BRIEF + APPROACH
BRIEF + APPROACH
I was asked to create a full length lyric video for Sudan Archive’s track YEA YEA YEA. The video needed to reflect the shifting moods of the track without losing coherence and should include precisely timed typography throughout.
I tackled the brief by designing a three-dimensional representation of the song title as an anchoring element; used a simple color scheme throughout with selective abberations responding to the track’s mood; selected a wide array of typefaces for 2D animation to echo the diverse styles present in the music and animated vigorously to do the track justice.
I was asked to create a full length lyric video for Sudan Archive’s track YEA YEA YEA. The video needed to reflect the shifting moods of the track without losing coherence and should include precisely timed typography throughout.
I tackled the brief by designing a three-dimensional representation of the song title as an anchoring element; used a simple color scheme throughout with selective abberations responding to the track’s mood; selected a wide array of typefaces for 2D animation to echo the diverse styles present in the music and animated vigorously to do the track justice.
I was asked to create a full length lyric video for Sudan Archive’s track YEA YEA YEA. The video needed to reflect the shifting moods of the track without losing coherence and should include precisely timed typography throughout.
I tackled the brief by designing a three-dimensional representation of the song title as an anchoring element; used a simple color scheme throughout with selective abberations responding to the track’s mood; selected a wide array of typefaces for 2D animation to echo the diverse styles present in the music and animated vigorously to do the track justice.
ANCHOR ELEMENT + BACKGROUND MOOD
ANCHOR ELEMENT + BACKGROUND MOOD
ANCHOR ELEMENT + BACKGROUND MOOD
For the sake of matching the track’s genre-bending nature, I split the animation up into different sections, giving each one a distinct appearance.
The title-turned-object and the background color scheme define each section’s mood while anchoring all parts to the same world.
For the sake of matching the track’s genre-bending nature, I split the animation up into different sections, giving each one a distinct appearance.
The title-turned-object and the background color scheme define each section’s mood while anchoring all parts to the same world.
For the sake of matching the track’s genre-bending nature, I split the animation up into different sections, giving each one a distinct appearance.
The title-turned-object and the background color scheme define each section’s mood while anchoring all parts to the same world.
Intro—neutral, inviting
First verse—bright, fun, riding the beat
Second verse—somber, flowing, buttery smooth
Bridge—glitchy, hard mood switch
Third verse—energetic, fast
Outro—melodic, fragile, unprotected
YEA YEA YEA CONSTRUCTION
YEA YEA YEA CONSTRUCTION
YEA YEA YEA CONSTRUCTION
The base shapes for the anchoring 3D YEA YEA YEA were built using a cloth simulation. To time the inflation precisely, I then used the different states (semi-inflated, full inflation) as morph poses, triggered by animated fields.
The base shapes for the anchoring 3D YEA YEA YEA were built using a cloth simulation. To time the inflation precisely, I then used the different states (semi-inflated, full inflation) as morph poses, triggered by animated fields.
The base shapes for the anchoring 3D YEA YEA YEA were built using a cloth simulation. To time the inflation precisely, I then used the different states (semi-inflated, full inflation) as morph poses, triggered by animated fields.
The base letter shape being inflated to the semi-inflation stage.
Simulation to the fully inflated state.
The regular pose morph animation, triggered by three animated spherical fields.
More energetic animation and additional displacement for the bridge.
REOCCURING ELEMENTS
REOCCURING ELEMENTS
REOCCURING ELEMENTS
Full-width stretched sans serif features from the intro up to the third verse.
Full-width stretched sans serif features from the intro up to the third verse.
Full-width stretched sans serif features from the intro up to the third verse.
Directional blurs and color shifts timed to stabs in the music appear throughout the track.
Directional blurs and color shifts timed to stabs in the music appear throughout the track.
Directional blurs and color shifts timed to stabs in the music appear throughout the track.
Words going up in smoke start appearing at the end of the second verse, feature prominently in the second verse and reappear as background and end in the outro.
Words going up in smoke start appearing at the end of the second verse, feature prominently in the second verse and reappear as background and end in the outro.
Words going up in smoke start appearing at the end of the second verse, feature prominently in the second verse and reappear as background and end in the outro.
CREDITS
CREDITS
CREDITS
CLIENT Stones Throw Records
ARTIST Sudan Archives
ARTIST MGMT Ben Dickey, Constant Artists
CREATIVE DIRECTION Alexa Carrasco
ART, TYPE, ANIMATION DIRECTION Vincent Wagner
CLIENT Stones Throw Records
ARTIST Sudan Archives
ARTIST MGMT Ben Dickey, Constant Artists
CREATIVE DIRECTION Alexa Carrasco
ART, TYPE, ANIMATION DIRECTION Vincent Wagner
CLIENT Stones Throw Records
ARTIST Sudan Archives
ARTIST MGMT Ben Dickey, Constant Artists
CREATIVE DIRECTION Alexa Carrasco
ART, TYPE, ANIMATION DIRECTION Vincent Wagner
Typefaces used: Area Normal, Inktrap, Extended by Blaze Type; Kobata by Ariel Martín Pérez via Tunera Type Foundry; Satoshi and General Sans by Indian Type Foundry via Fontshare; Degheest FT88 Expanded by Camille Depalle, Eugénie Bidaut, Luna Delabre, Mandy Elbé, May Jolivet, Oriane Charvieux, Benjamin Gomez, Justine Herbel via Velvetyne Type Foundry; Futura PT by Paratype; Eckmannpsych by OH no Type Co; Geist by Andrés Briganti, Mateo Zaragoza, Guillermo Rauch, Evil Rabbit, José Rago, Facundo Santana; Bahnschrift by Aaron Bell.
Typefaces used: Area Normal, Inktrap, Extended by Blaze Type; Kobata by Ariel Martín Pérez via Tunera Type Foundry; Satoshi and General Sans by Indian Type Foundry via Fontshare; Degheest FT88 Expanded by Camille Depalle, Eugénie Bidaut, Luna Delabre, Mandy Elbé, May Jolivet, Oriane Charvieux, Benjamin Gomez, Justine Herbel via Velvetyne Type Foundry; Futura PT by Paratype; Eckmannpsych by OH no Type Co; Geist by Andrés Briganti, Mateo Zaragoza, Guillermo Rauch, Evil Rabbit, José Rago, Facundo Santana; Bahnschrift by Aaron Bell.
Typefaces used: Area Normal, Inktrap, Extended by Blaze Type; Kobata by Ariel Martín Pérez via Tunera Type Foundry; Satoshi and General Sans by Indian Type Foundry via Fontshare; Degheest FT88 Expanded by Camille Depalle, Eugénie Bidaut, Luna Delabre, Mandy Elbé, May Jolivet, Oriane Charvieux, Benjamin Gomez, Justine Herbel via Velvetyne Type Foundry; Futura PT by Paratype; Eckmannpsych by OH no Type Co; Geist by Andrés Briganti, Mateo Zaragoza, Guillermo Rauch, Evil Rabbit, José Rago, Facundo Santana; Bahnschrift by Aaron Bell.
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