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Illo, the Italian design studio, has partnered with environmental nonprofit The Nature Conservancy for a new video series on climate crisis solutions. Unpicking "the things we can do to preserve our planet", the animated series addresses four crucial topics: Biodiversity, Natural Climate Solutions, Carbon Markets and Regenerative Food Systems, explains the Illo site. For the work, the studio ran into the issue faced by more and more creatives working in the environmental sphere: how do you get across the message of one of humanity's most pressing issues and keep audiences visually engaged?

To convey scientific solutions and catch the attention of the audience, Illo developed four unique visual approaches for each topic so the videos would stand out when viewed alone. Equally, to keep the series cohesive, a "vibrant" colour palette is shared throughout the works, utilising The Nature Conservancy's signature green as a starting point, Illo tells It's Nice That.

It continues: "The two pillars at the base of the production of each episode were, on the one hand, research and interviews with experts on scientific topics, and on the other, free creative moodboards and art direction explorations." The Nature Conservancy was "very specific on every scientific topic, while we had the chance to explore all the visual aspects very freely."

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Illo mixes science with motion design to get viewers engaged in the climate crisis

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The studio uses four distinct styles to illustrate climate crisis solutions for The Nature Conservancy.

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How to make a Risograph animation with Hiromu Oka

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Risograph animation is an unbelievably laborious process, filled with little snags and things to watch out for. Here, Hiromu Oka goes behind the scenes to show you just how it's done.

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Our interest in fantasy is surging. Hot off the heels of an exhibition dedicated to the subject at the British Library, 3D studio Fromm has launched a new project and exhibition about folklore. Although, of course, Fromm's stories come with a twist. Using a combination of photogrammetry and motion tracking, Fromm brings stories of dragon-slaying knights crashing into our contemporary age.

"There is a sense of comfort in the mystical and fantasy, from the fairytales we heard growing up and popular games and films such as Runescape, World of Warcraft and Shrek," Fromm, or Vince Ibay and Jessica Miller, tells us. "Looking back at the past can help to make sense of the increased exposure to chaos that we have today through social media. A time of magic and ritual could help navigate our polarised world. Where everything is black or white, fantasy and folklore represent the grey area, the unknown - a space where some might find refuge."

Faerdom is also very fun. Some of the references that brought Fromm to this project include Bardcore, a music trend the team listened to "a lot" last year and the historic pubs and museums of England and Europe; "there's a real sense of medieval London," confirm the team. This is realised in the ceramic Staffordshire-inspired style Fromm typically uses, culminating in characters and scenes that look oddly naive, awkward and painterly, but funny too. The dance between the past and the modern is always there, so much so that you can't tell if a head bust is an Aldous Harding lookalike or a member of a royal court.

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The new Shrek: Fromm reimagines folklore stories through a 3D lens

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The digital duo's latest project is Faerdom, a collection of animated images set in a kingdom far far away, "where heroes, saints and the mythical coexist in harmony".

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The work of Alex Center and his eponymous studio, Center, is like a highlight reel of the big, the bold, and the colourful in branding. Originally from Oceanside, New York - some 20 miles from New York City - the designer spent over a decade working at the Coca-Cola Company building brands such as Vitaminwater, Smartwater and Powerade. In 2018, he decided that he wanted to bring his pop culture influences to his own projects, founding a space that integrates identity, typography, illustration, motion and packaging design.

Be it a project with a globally known brand such as Apple or New Balance, or an identity for a newer name such as Magic Spoon or Kin Euphorics, Center puts its clients at the centre of culture. New Balances are made to feel as though they're synonymous with basketball, as Kawhi Leonard becomes the 'fun guy' holding them below the rim; and the Australian dining spot Good Thanks have their casual vibe cemented with fun, irreverant illustration and cursive type. No matter what it is, Center's work enables brands to establish, shift, and evolve. "We love to partner with people we believe are creating a positive change," Alex tells us. "We champion values the world needs more, and love working with those who are adding something unique to the planet," he adds.

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Inside Center and its bold and striking approach to branding

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Founded only in 2018, the 12-person team keeps iconic brands in the spotlight and amplifies those that are emerging.

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To create the animation Katy and Gabriel made use of their distinct skill sets. A couple as well as a creative partnership, the pair have been collaborating on more projects together in recent years. While Katy traditionally practised as a 2D illustrator, animator and designer, Gabriel comes from a live action background, with skills in 3D/CG and shooting stop motion. Together, the pair decided to try something new and proposed the idea of making a supercut of live action and animated shots. They printed stills from the film and coloured aspects in, with pencils, pastels, and paints before scanning it back in.

The animated elements are a mixture of their own 3D animation, while some was library footage, and some was a mix. At first Katy and Gabriel were stumped by how they may best integrate transitions, but "in the end we just freestyle for the most part - we came up with a rough idea of what the transition should look like, and then just went straight ahead with animating it into the film", says Gabriel.

As both Katy and Gabriel more commonly work digitally, the project was a welcome change. "I love how different it felt, the satisfaction was a very different kind of feeling compared to the satisfaction of completing work on a computer," says Katy. "I love both ways of working, but I'm grateful that we got the opportunity and creative freedom to try something different." The analogue approach also matched the animation's loose storyline. Mimicking the cycle of life, it starts with the primordial division of a cell, interspersed with the elements - like fire and water - to remind the audience that "life is something of a resilient guest amongst the indifferent forces of nature", says Katy.

The organic strokes and lines that emerge through the animation resonate with the natural flow of organic matter, the unpredictable crackling of flames, and the iridescent flow of water. Moreover, Katy recognises, in a creative climate increasingly wary of AI art, people are welcoming handcrafted work with open arms. "I think people are craving seeing something that feels very physical, with a bit of messiness, flaws, imperfections... It feels more human," she says.

Working on the animation was grounding for Katy and Gabriel - it reminded them of the wonders of the natural world. "It's kind of a miraculous coincidence that life even exists in the first place," ends Gabriel. "I would hope people come away from this film with appreciation for that, as well as respect for the natural world which fostered that coincidence."

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"A mix of hope and fear": Katy Wang and Gabriel Greenough animate Gen Z's feelings toward climate change

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Using a repetitive, mixed-media method of printing, painting and scanning, the animation celebrates recurring cycles in the natural world.

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Gyuri Cloe Lee has tried a bit of everything. She studied a combination of film, animation and video at the prestigious Rhode Island School of Design and has dabbled in everything from commercial graphic design projects to traditional painting. Making her way in an interdisciplinary sector where creativity runs wild, the animator and video artist, now based in Seoul, shares a few recent projects with us, and tells us about her journey into this wonderful, colourful universe on view before our eyes.

Back in college, Gyuri tells us, "I took a class on the basics of animation and found out I'm actually pretty good at it." Instantly, she felt connected to the field for its fluidity and ability to tell stories, and the budding animator went on to explore the medium further. Looking back, she says, "I'm still quite proud of my very first flip book." It represents a time when she first realised how expansive animation can be, with copious space and maze-like corridors to go down.

Having lived half her life in the US and the other half in Seoul, Gyuri decided to move back to Korea after university to pursue a career as a freelancer. She realised her passion was in animation, setting up shop under the name Petting Zoo Studio where she takes on animation and video art commissions. Here, you'll find charming music videos with a hint of nostalgic vintage energy, installation loop pieces uncovering fantastical mechanisms and their inner workings, and funny characters where pretty much any object or animal is given human characteristics in a surreal twist. She draws inspiration from the minutiae of everyday life, as well as the Japanese animation house Saigo no Shudan, who she says "never fail to blow my mind" with its eclectic styles that come together in one seamless animated work.

In a similar way, throughout all Gyuri's work, there's a hand-drawn tactility. It's a signature trait the animator is dedicated to upholding. "Most of the things you see in my films are hand drawn with a pen on paper," she says. "There are lots of subtle details that can only be seen when extremely small drawings are blown up, such as ink smears, roughness of paper texture, and crooked lines due to a slight hand shake." Though all her artworks are created using After Effects, she adopts a hand-rendered approach which sees her move each frame ever so slightly through layers in order to achieve that jolty stop-motion animated feel. "There might be a smarter way to go about it, but it's just something I'm used to," Gyrui adds. Then, when she's done animating, she uses a variety of transitions to make the animation feel like "a long fever dream" and a work of brilliance to the viewer.

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How Gyuri Cloe Lee creates stop-motion effects through digital animation

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Gyuri Cloe Lee has tried a bit of everything. She studied a combination of film, animation and video at the prestigious Rhode Island School of Design and has dabbled in everything from commercial graphic design projects to traditional painting.

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It's rare to come across a design portfolio that feels like you can physically enter it, but this is most certainly the case with Xingshan He's. Inspired by the likes of Studio Moniker and Yehwan Song, Xingshan is passionate about creating artful interactive design experiences. Stylistically, Xingshan aims for an aesthetic that emulates the "millennial internet" era. Her images often look like a noughties Myspace page, filled with overlapping images, vibrant palettes and hectic patterns.

But while Xingshan's visuals exude fun and levity, she uses them to delve into complex societal topics. Particularly those connected to her personal experience, like China's one child policy. Her interactive website Breathe With Us - which has a soothing title page that simulates the motion of breathing - deals with the experience of emotional labour in China's food delivery industry. Inventive, immersive and consistently analytical, Xingshan's portfolio is best suited for deep exploration.

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Googly eyes, goats and games: Step into Xingshan He's incredible world of interactive design

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Each element of the designer's work has an interactive element, including a website that lets you fly an airplane cursor around a blue sky.

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The rebrand applies pixels as a central graphic component. The pixel was chosen for the wordmark for its nostalgic Web1 feel and its roots in the 90s, back when Protein first opened its doors. But in tandem, the pixel was also applied to "give a sense of individuals coming together with each pixel representing different facets of the community", says Vincent. From emojis to the background pattern of assets, pixels even find their way into the typeface used throughout. To further represent the IRL / URL approach, in some places the typeface is ordered, whereas in others it "glitches" into a pixelated style. A particularly satisfying motion wordmark also sees the 'studios' in Protein Studios disintegrate into a myriad of colourful pixels, before reforming once more.

Throughout the rebrand, Protein is abbreviated to P.S, to give the brand a "unique tone of voice", Vincent says. The abbreviation features in numerous places - from email sign offs, newsletters and social assets to "unexpected" places in the studio space.

"The rebrand had to stand for a lot of things for a lot of people which is how we landed on a palette of assets which can be evolved over time," says Vincent. "A system that allows for growth going forward - like an ecosystem with a community grounded at the very heart of it."

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Protein Studios gets a pixelated new look from They That Do, nodding to its 90s heritage

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For the London-based event space and co-working community, the studio created a design system that complemented both its physical and digital spaces.

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Poring over Javier Unknos' eclectic portfolio is a multi-layered experience. Hyper-digital type designs are printed on hand-bound books, detailed line drawings find themselves nestled in amongst typed text and film credits are made with collage-like stop-motion. This is because Javier "intervenes", as he puts it, into his work with analogue methods, with the aim of adding a depth that's hard to find in purely digital designs.

But while such an array of techniques can be seen throughout Javier's work, it is still somehow cohesive. That's perhaps because he doesn't observe his design work as closed off by each project, but instead as something cyclical: "I look for results beyond the outcome of each individual graphic piece and I conceive aesthetics as a consequence of the creative process and not as an end," he says. Unsurprisingly, Javier finds inspiration in numerous mediums, including graffiti, nature, architecture and product design. Not only interested in how these facets interact, Javier enjoys seeing how their inherent differences can create interesting visual contrasts.

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Javier Unknos' type-centric designs effortlessly blend digital and analogue techniques

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Poring over Javier Unknos' eclectic portfolio is a multi-layered experience. Hyper-digital type designs are printed on hand-bound books, detailed line drawings find themselves nestled in amongst typed text and film credits are made with collage-like stop-motion.

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Phoebe McCaughley animates the volatile and often unpredictable nature of human emotions

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For Jordan Stephens recent single Feel Joy, Phoebe McCaughley has animated a music video that sees the singer go on a wondrous journey with a kind-hearted, long-armed brain.

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Throughout the site, the team's art direction amplifies the Codes of Comfort to a level that potential visitors can see themselves in. There's the illustrations and animations by Iris De Moüy, with playful yet recognisable activity and figures that travel across the home page; relaxing, holding house plants and admiring goldfish. Photographer Polly Brown focuses on prime spots within the hotel that are synonymous with home, with a particularly suave and earthy edge. She captures a red dining table in a way that is almost surreal, as the neighbouring window reflects the outdoor greenery and glistening glassware, but there's a dog stood right on top of it - telling visitors that no matter how serene the carefully crafted space is, their furry friends are welcome too. And there's also her short films that feel like home videos, evoking a sense of nostalgia.

As Ett Hem is a local yet standout experience rooted in Swedish culture and history, the Studio Frith team wanted to amplify its traditional Swedish arts and crafts architecture through the creation of a typeface rooted in Swedish vernacular letterforms. "They were details of the original letterforms that really fascinated us and made us think they had the potential to exist outside of their time, now they have even reached the digital world," she tells us.

The Ett Hem site visually exemplifies the hotel as going beyond institution, hard to reach or pervasively strict. Frith says, "we combine formal and expressive and stillness and motion to strike a balance between sophistication and warmth that you find at Ett Hem". She adds: "we wanted the site to capture the experience, simplicity and suggestivity, without the need for prescriptive rules or descriptive text". And it surely does because we suddenly want to leave our homes to kick our feet up (at home) elsewhere.

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Studio Frith brings nostalgia and charm to the visual identity of Swedish hotel Ett Hem

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Frith evokes an equal sense of the traditional and the ultra-modern with a new typeface, surreal photography and short films by Polly Brown, and playful illustrations by Iris de Moüy.

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You know that gut-wrenching feeling when you know something is off? Or that exciting turn in your stomach when you're about to embark on a new journey? Or that strange, indescribable feeling when you just simply know? These are the instinctive emotions explored in a new animation titled Your Mountain is Waiting, directed by Hannah Jacobs and written by Harriet Gillian. "The theme of intuition and trusting your gut was a topic that Harry and I had both been reflecting on when we decided to make the film," says Hannah. Having met six months prior after receiving one of the BFI Short Animation Fund grants, the pair shared stories of life experiences over tea during their first interaction together. "I think we can perhaps all relate to times in our life when we've stopped listening to ourselves, or have found it harder to trust our instincts, and it certainly felt like a subject matter that was meaningful to both Harry and I," she adds.

Your Mountain is Waiting follows a protagonist named Martha, who has stopped listening to her intuition and her life begins to suffer. After a strange encounter, she starts to reassess and begins her journey of self-discovery. The film is constructed from a textural and flat illustrative style, where colour plays a central role in determining the atmosphere and events; moody blues depict the sadder parts, while bright and happy yellows or greens illustrate the more positive. It's very much in line with Hannah's illustrative style, "using lots of luscious textures and colour", as she puts it. Working with a flexible brief to push the illustrative approach, Hannah was keen to lean into her style fully. "From a story point of view," Harriet adds, "Hannah's illustration and design style is key to translating a lot of the intangible aspects of the film. Her work is naturally loaded with emotion and depth. I have no idea how she does it but her aesthetic gives scenes like the 'snow world' a whole other level of compassion and empathy."

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Learn to trust your gut more in an emotive animation from Hannah Jacobs and Harriet Gillian

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You know that gut-wrenching feeling when you know something is off? Or that exciting turn in your stomach when you're about to embark on a new journey? Or that strange, indescribable feeling when you just simply know? These are the instinctive emotions explored in a new animation titled Your Mountain is Waiting, directed by Hannah Jacobs and written by Harriet Gillian.

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Blast studio uses simple paper-cut illustration to rebrand refugee initiative Amna

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In collaboration with Amna, Blast aims to shift the focus from the “negatives of trauma” to the initiative’s transformative work.

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An animated hot potato and the gossip behind Farm Panic’s breakup: Laugh out loud with India Hogan

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The Glasgow School of Art grad gives us a rundown of how she sparks humour through animation, and tells us how TMZ videos and Zoolander have informed her graduate film detailing the breakup of a fictional 90s rock band.

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Creating a graphic motion picture with a prehistoric theme and the filter of roulette could be an intriguing blend of elements. Here's a concept outline:

Title: "Epochs of Chance"

Synopsis:

In a world where time is a wheel, spinning endlessly through the epochs, our story begins at the dawn of prehistory. The Earth is raw, untamed, and governed by the whims of fortune.

Act 1: The Primordial Spin

We follow a group of early humans, struggling to survive in a harsh, unforgiving landscape. Their lives are dictated by the spin of a giant roulette wheel, representing the unpredictable forces of nature. Each spin determines their fate - whether they'll find food, evade predators, or face calamity. Amidst this uncertainty, relationships form and alliances are tested, all against the backdrop of a world in constant flux.

Act 2: Evolution's Gamble

As time progresses, the wheel of fortune takes on new forms. We witness the rise and fall of civilizations, from the emergence of agriculture to the construction of monumental structures. Yet, with progress comes risk, and the roulette wheel becomes ever more capricious. Leaders rise and fall based on the luck of the spin, shaping the course of history in unpredictable ways.

Act 3: The Modern Shuffle

In the present day, the roulette wheel still turns, but its significance has shifted. No longer bound by physical constraints, humanity grapples with the consequences of its actions on a global scale. Climate change, technological advancement, and societal upheaval all play out against the backdrop of the eternal wheel. As the stakes grow higher, individuals must confront the role of chance in shaping their destinies and the future of the planet.

Visual Style:

The film would feature stunning animation blending hand-drawn and CGI techniques. The prehistoric landscapes would be rendered in vivid detail, from lush jungles to icy tundras, while the roulette wheel itself would be a mesmerizing spectacle, adorned with symbols of the natural world and human civilization.

Soundtrack:

The score would mirror the cyclical nature of the narrative, with motifs that ebb and flow like the turning of the wheel. From primal drumbeats to orchestral crescendos, the music would heighten the tension and emotion of each spin of fate.

Ultimately, "Epochs of Chance" would be a visually stunning and thematically rich exploration of humanity's enduring struggle against the forces of randomness and the passage of time.

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Roulette is a popular casino game that has been enjoyed for centuries. It typically consists of a spinning wheel with numbered pockets and a small ball. Players place bets on where they think the ball will land, and once the wheel is spun, anticipation builds as the ball bounces around until it finally settles into one of the pockets.

The game offers various betting options, including betting on specific numbers, groups of numbers, colors (red or black), odd or even numbers, or high or low numbers. Each bet offers different odds of winning and corresponding payouts.

Roulette is not just a game of chance; it also involves strategy and risk management. Players often use betting systems or strategies to try to increase their chances of winning, although ultimately, the outcome is determined by luck.

The game's origins can be traced back to 18th-century France, and it has since become a staple in casinos worldwide. Its simple yet thrilling gameplay makes it a favorite among both novice and experienced gamblers.

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In prehistoric times, humans lived in a vastly different world from today. Prehistoric refers to the period before written records, which encompasses millions of years of human history. During this time, our ancestors lived as hunter-gatherers, relying on primitive tools and techniques to survive.

Prehistoric humans lived in small groups or tribes, moving frequently in search of food and shelter. They hunted wild animals for meat, gathered fruits and plants, and utilized natural resources for their basic needs. Fire played a crucial role in their daily lives, providing warmth, protection, and a means to cook food.

Communication was rudimentary, likely consisting of gestures, vocalizations, and perhaps simple forms of symbolism. Artifacts such as cave paintings and carved figurines provide glimpses into their beliefs, rituals, and daily activities.

The prehistoric era saw the emergence and evolution of Homo sapiens, our species, as well as the development of early human cultures and societies. While much about this time period remains shrouded in mystery, archaeological discoveries continue to shed light on the lives of our ancient ancestors and the world they inhabited.

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Yes, dinosaurs were indeed prehistoric creatures. The term "prehistoric" refers to the time period before written records began, which encompasses millions of years of Earth's history. Dinosaurs lived during the Mesozoic Era, which lasted from about 252 to 66 million years ago.

During the Mesozoic Era, dinosaurs dominated the land, sea, and sky. They were a diverse group of reptiles that ranged in size from small, bird-like creatures to massive, long-necked sauropods and fearsome predators like Tyrannosaurus rex.

Dinosaurs became extinct around 66 million years ago, marking the end of the Mesozoic Era and the beginning of the Cenozoic Era. Although they are no longer alive today, their fossilized remains provide valuable insights into Earth's ancient past and the diversity of life that existed long before humans appeared on the scene.

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Combining fossils and roulette could lead to a fascinating thematic game or activity. Here's an imaginative scenario:

Imagine an interactive museum exhibit or educational game called "Fossil Roulette." Participants are presented with a large wheel divided into sections, each representing a different prehistoric period or ancient ecosystem (e.g., Jurassic, Ice Age, Paleozoic Era). Instead of numbers, these sections feature images or replicas of fossils from that era.

Players spin the wheel, and wherever it lands, they are transported back in time to that specific period. They then embark on a virtual or physical adventure where they must search for fossils or artifacts representing creatures from that era.

The game could incorporate elements of chance and strategy, similar to roulette, as players must navigate obstacles and challenges to uncover fossils. For example, landing on the Jurassic period might require players to search for dinosaur fossils in a simulated excavation site, while the Ice Age section could involve hunting for mammoth tusks or saber-toothed cat remains.

Along the way, players learn about the creatures that lived during each era, their habitats, and the geological processes that shaped the Earth over time. The game could be designed for both entertainment and educational purposes, appealing to both children and adults interested in paleontology and natural history.

In this concept, "Fossil Roulette" merges the excitement of chance with the educational exploration of Earth's ancient past, offering a unique and engaging experience for participants.