Visual Music Archive

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Sehsucht 

was founded in 2000 by a bunch of hungry design addicts and has come to leave its mark as a top-notch quality label in the field of animations and graphics.

In the heart of Hamburg's Karolinenquarter – home of advertising agencies, creatives and artists – Sehsucht has also its home. The first impression you have by entering the hall are: light rooms and no commotion. In this atmosphere 30 creatives riding on disciplines like motion graphics and 3-D animation concepting and converting ideas to life. Proof for doing it good are several awards such as a Gold Lion in Cannes.

 

Source: Mographwiki

 

 

Founded in 2000 by a bunch of hungry design addicts, Sehsucht has come to leave its mark as a top-notch quality label in the field of animations and graphics.

With the same untiring drive and excitement as back in the early days, we direct and produce cutting-edge digital content for our clients from the creative industries.We count more than 30 design-obsessed individuals that are united in their aspiration to further push the boundaries of storytelling by deploying narrative concepts that deliberately blend commerce with art.

 

Source: Sehsucht's Website

 

 

Sehsucht, berlin, design

Reading

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

Audio.Visual - On Visual Music and Related Media (2009) by Cornelia Lund and Holger Lund (Eds.) is divided into two sections: the first deals with the academic discussion on the subject of visual music; the second introduces contemporary paradigms of audio-visual praxis in brief presentations and contextualises them. Apart from being a guide in the historical sense, this new volume provides theoretical approaches to understanding and making visual music. (Fluctuating Images)

Eye 76 (2010) is Eye's first-ever special issue on the dynamic and continually inspiring sector of design for music. Designers are in a privileged position to add visual drama to music; to make it more understandable and enjoyable; to communicate the intangible essence of vibrating air molecules into the worlds of words, images and moving graphics. Design can make music look good, but when they really work together you have magic. (Eye magazine)

Links

 

SEE ALSO

Konzerthaus Dortmund: Typofonie (2006) by Hamburg-based design studio tisch eins.

The Clockmakers (2013) by Montreal-based designer Renaud Hallee plunges into a graphic, almost mathematical world where everything is symmetry and geometry. Half-figurative and half-abstract, both experimental and powerful, this acrobatic number is a playful creation, a sort of methodical parade that sparks unusual emotions. (National Film Board of Canada)

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

Matt Pyke (*1967) is a painter, photographer, artist, curator, designer, animator, director, producer and lecturer based in a log cabin studio in Sheffield, UK. He founded Universal Everything after 8 years at the internationally renowned studio, The Designers Republic from 1996 - 2004. (Universal Everything)

Massive Attack World Tours (2003-2010) by United Visual Artists. UVA and Massive Attack have an ongoing artistic relationship. Up to date UVA have created four world and festival tours for the band, the 100th Window Tour (2003) being the first. UVA created a new stage set with a wide, sculptural LED screen as the centrepiece for the fourth tour in 2008. Perfect synchronisation between the music and the visuals was made possible by United Visual Artists’ custom d3 software. (United Visual Artists)