Montreal graphic designer Nicolas Ménard moved to London in 2012 to complete an MA in animation at the Royal College of Art where he created this darkly comic animated mini-masterwork called “Loop Ring Chop Drink 2014” which just completed a successful festival run. [Read more]
Nexus directors Smith & Foulkes‘ history with Honda is long and award-laden (we ran Honda “GRRR” on the cover of Stash 03 in Nov. 2004) and this latest pair of spots, which break today thru agency RPA, finds the directing duo’s signature charm and gentle humor applied to the launch of the HR-V Crossover. [Read more]
London people! See No Evil presents Nexus director Celyn Brazier tonight at Cafe 1001 91 Brick Lane. Doors Open 7.00pm, talk Starts 7.30pm “As usual it’s FREE and there are great prizes to win courtesy of our friends at Stash Magazine. So get down to SNE where you can meet some liked minded creative people, […] [Read more]
One definite way to keep the client happy with your spot is make sure their product dominates the screen at all times. Nexus director Jack Cunningham combines that very strategy (even if the couch is CG) with charming and minimalist hand-drawn character animation in this sunny, feel-good spot for Vitra created [Read more]
Channel 4’s promotion for the annual UK steeplechase spectacle known as Crabbie’s Grand National Festival takes a mythological turn as Nexus directors Smith & Foulkes and 4Creative craft a classic adventure/fairytale of “The Outsider,” a unicorn foal with runty wings and a twisted horn, overcoming impossible odds. [Read more]
Nexus director/graphic artist Nicolas Ménard takes on the “Illuminate” track from UK producer Tourist as his first music video assignment, animating a flat graphic treatment inspired by Japanese graphic artist Yuichi Yokoyama and retro games X and 3D World Runner.
Nicolas Ménard: “It’s been a real blast to direct Tourist’s Illuminate music video. Not only because it’s such a playful, awesome sounding track, but also because Will was keen to jump straight into the weird abstract universe I’d suggested. Everything was animated frame by frame in Photoshop, with some slight compositing in After Effects, and the editing in Premiere.”