Visual Music Archive

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Konzerthaus Dortmund: Typofonie 

(2006) 

by Hamburg-based design studio tisch eins.

Konzerthaus Dortmund: Typofonie, typography, design, Commercial

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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)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

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)

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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)

Petard (2003-2008) is Depart's 'synapsisyntactical dewelloperawe', an audio-visual live performance for synced fragmented audio and video, mostly improvised live. This is a short capture of a Petard audio-visual live performance at Cimatics in Brussels, Belgium using Pure Data's Gem and Native Instrument's Reaktor. (Depart)

Resonance (2011) is a collaborative project with over 30 independent visual and audio designers and studios. The aim was to explore the relationship between geometry and audio in unique ways. Animators and Audio Designers were paired up at the beginning of the project and were given the guidelines to create a piece between 12 and 20 seconds and in HD quality, the rest was up to them. (Resonance website)

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)

Maxim Zhestkov (1985) is a video artist, and motion and graphics designer based in Ulyanovk, Russia. At the age of six he was given his first computer, a ZX Spectrum, and devoted his time to drawing huge and very detailed illustrations. He was also a keen gamer, and believes his enthusiasm for design and CG effects can be traced back to those days. After high school he undertook a degree in architecture, which he followed by studying graphic design, fine art, illustration and sculpture. In 2009 he signed to Partizan. (Maxim Zhestkov)