We Have Band: Divisive 

(2010) 

by French directors Jul & Mat for We Have Band. The three members of WHB create letters with their bodies to spell out words, that make up a key lyric in the song.

We focus on high impact, light images. Working with cut up pasteboard, glued together with After Effects, we’re about returning to primary materials and rediscovering slow. Animated toys and crumpled paper, changing faces, changing clothes, all in improbable settings, a mix of reality and post-production, of simplicity and techniques. Our videos are for sharing, are accessible to everyone and go beyond any language barrier.

 

Source: Jul & Mat

 

 

We Have Band: Divisive, typography, people, Video Clip

Reading

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)

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)

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)

 

SEE ALSO

Free Radicals (1958) - In arguably his greatest film, Len Lye reduced the medium to its most basic elements – light in darkness – by scratching designs on black film. His scratches were as energetic as lightning in the night sky. He used a variety of scribers ranging from dental tools to an ancient Native American arrow-head, and synchronized the images to traditional African music ("a field tape of the Bagirmi tribe"). (centre for art tapes)

William Forsythe (*1949) is recognized as one of the world's foremost choreographers. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st-century art form. William Forsythe's deep interest in the fundamental principles of organisation has led him to produce a wide range of projects including installations, films, and web-based knowledge creation. (The Forsythe Company)

Passagen (2009) is the documentation of the video installation by Lichtfront created for an exhibition during the interiour design week called Passagen in Cologne 2009. (Lichtfront on Vimeo)

Konzerthaus Dortmund: Symphony In Red (2007) by Hamburg-based motion house Sehsucht have created the mesmerising spot for Konzerthaus Dortmund through the agency Jung von Matt. Jung von Matt approached Sehsucht with the brief, "Liquid Blood" and as luck would have it their director Niko Tziopanos had just spent a semester with his design students experimenting with "Ink as medium and form for animation". Music by Fazil Say. (Motionographer)

Arthur Lipsett (1936-1986) was a Canadian avant-garde director of short collage films. Arthur Lipsett's meticulous editing and combination of audio and visual montage was both groundbreaking and influential. (Wikipedia)