PSYOP Signs Melbourne Animation House Studio Showoff for U.S. Representation
December 16, 2025
No other sub-genre of motion design generates the measurable excitement (clicks, views, likes, etc.) among Stash fans and subscribers as the work we classify as 3D Style – a type of CG magic realism with transportive powers.
2025 was another strong year for CG design and animation with both commissioned work and personal experiments demonstrating the media’s endless visual possibilities and the appeal of the finished films to both clients and the wider public.
All these films were published in The Stash Permanent Collection during 2025 and are listed here in reverse chronological order by their issue of publication.
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Issue: Stash 173
Also included in the Stash Annual 2025
Evaldas Cesnavicius and Almantas Vasiliauskas, co-founders at SYMBIOTIC in Vilnius, Lithuania: “SAES, our longstanding partner, challenged us to select three animals with extraordinary abilities that align with their product, Bipod.
“The resulting campaigns feature the octopus, tree frog, and emperor penguin, each showcasing unique product attributes. Highly technical animal rigs and animations are typically handled by large VFX studios rather than boutique design houses like us.”
Issue: STASH 172
Also included in the Stash Annual 2025
Mateusz Górski, EP at Millarc: “We were asked to create a video that would highlight the engineering precision of Huawei’s Mate XT Ultimate Design, the world’s first double-folding smartphone, with a focus on showcasing the two hinges.
“The technical challenge was to create a functional rig as the hinges interacted with one another, so closing one caused the other to move. We also focused on the number of hinge elements to create visually appealing shots while optimizing the model.”
Issue: STASH 171
Also included in the Stash Annual 2025
The latest in director/animator Michael Fragstein’s ongoing collaboration with German writing instrument brand LAMY builds a complex and kinetic design language targeted at a younger audience.
Michael Fragstein: “Although the product itself is analog, the film embraces a digital aesthetic — playing with contrasts to generate visual strength and tension. I developed a system of abstract visual symbols and staged them in various geometric settings, always in dialogue with the product.”
Issue: STASH 171
Also included in the Stash Annual 2025
The motion crew at London’s Form Films constructs a full-CG reveal film for the XP electric motorcycle, a collaboration between vehicle designer Hugo Eccles at UNTLD MOTO and American manufacturer Zero Motorcycles.
Dan Preston-George, producer at Form Films: “Inspired by the XP’s radical design and UNTLD MOTO’s meticulous process, we structured the film around the concept of completely rebuilding the motorcycle piece by piece.”
Issue: STASH 171
Also included in the Stash Annual 2025
Director/CG artist Wes Cockx in Brooklyn, NY: “Microsoft Viva is built within the framework of Microsoft 365 and Microsoft Teams as an experience to help every person in an organization connect, engage, learn, and grow regardless of their work environment.
“The challenge was exploring the visual expression and building on the foundations of the Microsoft Fluent Design imagery while infusing it with the Viva identity, from deconstructing the app icons through to the way the sphere symbolizes the human presence within the platform.”
Issue: STASH 171
Also included in the Stash Annual 2025
Alexandra Kotova, producer at Media.Work in Los Angeles: “‘Magnetic Currents’ is our newest exploration in an internal production initiative called Media.Workout. Regularly, members of our team propose a wide spectrum of topics, splitting into small groups to dive deeper into each of these subjects.
“In this project, we thought about magnetism as an unspoken dialogue — an invisible force sculpting matter, orchestrating movement, and weaving ephemeral connections.”
Issue: STASH 171
Also included in the Stash Annual 2025
Cody McFarland (producer) and Danilo Silveira (director) at Tendril in Toronto: “Tendril had originally worked with ESPN for the 2020/21 College Football Playoffs package. The art direction in that original production was darker, moodier, heavy on gold tones and big saturated colors.
“After a major change to the structure of the College Football Playoff (they went from four teams to 12), ESPN wanted to lighten and brighten things up. In response, we targeted a brighter overall art direction with softer color impact and a subtler integration of gold tones.”
Watch all the Best of Stash 2025 Collections.
