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Iron dust represents misinformation in the network, and viewers need to manually ruffle these iron dusts to see the text underneath

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Effect Comparison

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Cover the text with a scratch-off layer sticker

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Binding books with transparent thread, The cover is made of mirrored material, and the binding line is not too abrupt, which makes an impression on the overall look and feel of the cover.

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This experimental video uses the voice of a real person, AI synthesised voice with the character's lip-synching as well as face-swapping, allowing the audience to feel deepfake in a more intuitive way, and the meaning of the text is alluding to the fact that the emergence of AI technology breaks the logic of the original thinking, and that what's on the internet isn't necessarily real. The sound is also chosen to create a horror atmosphere with the aid of strange and peculiar sounds, so as to alert the audience.
The second role is in showing my book, and how to read this book.
The third role is to use the video to engage the viewer so that they can pay more attention to my book and its content.

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use the final cut pro app to cut and edit all the clips

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use the final cut pro app to cut and edit all the clips

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Includes dubbing, clip assembly, effects design, subtitle editing

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Shoot the footage I need from the script.

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Shoot the footage I need from the script.

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using different color to print

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test by myself

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learn how to print the screen print

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Where logic wanes and fantasy reigns,

Things that don't exist appear,

And paint a masterpiece of the unknown.

A network form breaks the chains,

Beyond the boundaries of reality.

Where shadows dance with the sun.

A kaleidoscope of images.

A symphony of illusions.

It blends the obscure with the real,
And creates a new mesh,

A surreal screen unfolds.

Masking the mysteries at the base.

How do you feel for this world?

How do you identify what is real?

With hope, with curiosity,

And with the palette of truth.

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Becky even recorded the audio for me.

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Becky helped me a lot with my grammar and got her friend who studied English Literature to help me.

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I'll get Becky to help me with the grammar.

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Video Narrator Script-It's a reference to the  Bazaar text.

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Video Narrator Script-It's a reference to the  Bazaar text.

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How do you feel this world?
Beyond the boundaries of reality.
Where shadows dance with sun.
A network form breaks the chains,
Masking the mysteries at the basic.
A kaleidoscope of images,
A symphony of illusions.
It blends the obscure with the real.
And create a new mesh,
A surreal screen unfolds.
Where logic wanes and fantasy reigns.
Things that don’t exist appear,
And paints a masterpiece of unknown.
So, how do you identify them?
Hope we with a mind full of curiosity,
And with a palette of truth.

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This FREE A.I. Tool Will Change Deepfakes Forever

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6 AI Text-To-Speech Voice Generators For YouTubers (Free Forever)

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Create premium AI voices in any style and language with the most powerful AI speech tool ever. Clone your voice and generate voiceovers in minutes with our AI voice generator.

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Video script copywriting to draw on

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Use of ai technology

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Experimental videos that can have some storytelling, and special effects

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Stop-motion animation techniques

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Refer to some of the shots

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how to express a book

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apply to redaction

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Failed. It's ugly. Ink dries too quickly and unevenly

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Transfer test with plain paper

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Sketch the image with ink

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Wanted to use clear plastic paper for transfers

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Local Characters: Jimmy Turrell creates a bespoke typeface inspired by Newcastle's Byker Wall

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"The next step was adding the second layer of geometric shapes, and adding the ragged edges to all outlines, again to keep in line with Jimmy's visuals," Krista tells It's Nice That. "The texture is also slightly different across the whole typeface - some characters are rougher at the edges than others."

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An unhealthy obsession with science fiction fuels Liam Johnstone's practice. The graphic designer, who is still studying for an MA in Visual Communication at the Royal College of Art, describes himself as being interested in "idealised worlds, both utopian and dystopian, fictional and real."

The former Leeds Beckett University (formerly Leeds Metropolitan) student uses design to interrogate what happens when everyday life begins to surpass the realities that were once thought to be impossible, and while his head might be full of deep space fantasies, his most recent project is grounded in the cold, hard reality of life in a concrete-heavy south east London enclave.

Blind Corners, a multi-disciplinary work in progress that features video, installations, and publications, sees Liam asking us to join him on a visual journey of the footpaths of the Thamesmead estate. For the uninitiated, Thamesmead consists largely of mid-60s social housing that was built upon what was once marshland, between Woolwich and Belvedere.

Calling the area a "social experiment from the 1960s that was never finished," he found himself fascinated by how the place had been "so obviously shaped to affect its inhabitants and their lives." And thus he carted himself off to a semi-neglected bend in the river Thames to examine just what it's like to live in a large-scale utopian estate 50 years after the foundations were laid.

"The multi-disciplinary approach came after interviewing my main contact in Thamesmead," Liam says. "She was a resident there and we spoke at length about the struggles she'd faced as a member of the community. When it came to the architecture, she said that it had caused her some anxiety, but I think it was a drop in the ocean when compared to the larger problems in Thamesmead."

Keen to distance himself from the kind of coffee table brutalism that privileges the writer, photographer, or designer above the actual residents of the schemes, that men in austere jackets chin-stroke themselves silly over, Liam handed authorial control over. "I let someone else do that talking, someone from outside the creative world who is just concerned about some of the shit they have to put up with," he says.

"I find that, for me, that created a more honest commentary on the issues that I was looking into, as opposed to the project being an entirely self-authored, contrived critique on European modernism, something I have no business commenting on myself."

The work uses the act of navigating the grid-like space to mirror anxiety and isolation felt by residents, mapping how the community has evolved and adapted to changes made by its local governing bodies.

"If anything I'd only scratched the surface when I wrapped things up a few months ago," Liam says. "My intention is to stick with Thamesmead and dig deeper, to create a more narrative piece of work. My ultimate goal is to document what has been revealed to be a transitional period in Thamesmead's history (as it is redeveloped in the wake of the Elizabeth Line's arrival, making it a destination living location for the affluent, regardless of those living there now), gathering interviews and material from people that surround the issue on all sides."

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Graphic designer Liam Johnstone is crafting a multidisciplinary approach to understanding space and the city

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An unhealthy obsession with science fiction fuels Liam Johnstone's practice. The graphic designer, who is still studying for an MA in Visual Communication at the Royal College of Art, describes himself as being interested in "idealised worlds, both utopian and dystopian, fictional and real."

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To round off 2019's Double Click, we've got five amazing websites which demonstrate the versatility of web design and the surprising results the medium often produces.

Closing 2019's Double Click is a line-up of incredibly varied websites from a host of talented designers and developers. We've got a virtual playground, a programme instead of a website, a recreation of Instagram Stories, a floating cloud of books, and an editable Google Sheet. Each demonstrates the possibilities of web design and the surprising results the medium often leads to.

But enough from us, here's An Yen, Arthur Haegeman and Jonas Temmerman, Elodie Fabbri, Christoph Knoth and Konrad Renner and Nicky Tesla to tell you all about their work.

Angus Chiang is a menswear brand established in 2015 which takes inspiration from Taiwanese culture and which has a "very playful, childlike, fun and whimsical image," according to An Yen who designed the brand's website in conjunction with developer David Peñuela. It's a bold and colourful website which employs an OTT graphic language, including an oversized cursor and several primary colours. "Angus, the creative director of the fashion brand, imagines the brand is like a park/playground, where we can always discover lots of fun outside of an ordinary view of daily life," An tells us. "Based on the 'park' idea, we thought it'd be nice to translate the concept to the website, and bring physical space to a virtual territory."

In turn, the site references attributes of a park from a "physical angle, functional angle to emotional angle." Users are invited to "have fun" on the site, exploring in a playful manner. "You can be a sophisticated user and play with it in a good manner, or you can be a badass, messing around with it with no hesitation or fear that someone is watching behind your shoulder," An adds.

All of this was achieved through interactivity, which is used to guide users and tell the story of the brand. "The interactive functions are not all intuitive and obvious. Some of them might take some time to find out," An explains. "For example, you are able to drag an object to a different colour zone, mixing up all elements. To me, in a way, it completes a very personal narrative."

Languages used:

"The site is built on top of Shopify, so we used fluid to load dynamic content from the shop. Custom settings and options were created in Shopify for the client to be able to activate and deactivate different part of the site, which allows the visuals to adapt to different needs. Since the concept of the design was to mimic a playground, we created different visuals to trigger when the user clicks on the different parts of the landing. This part was developed using a library called Matter to have the physics system and we have different options for mobile and desktop."

Together, Arthur Haegeman and Jonas Temmerman make atelier Haegeman Temmerman, and have been producing work under the moniker since 2019. Working across analogue and digital media, everything the duo does is held together by their systematic approach. "We love it when there are decisions made by the system instead of us," they tell us. In turn, their website pulls from the visual language and navigation of operating systems, and allows for their style to change depending on which device users visit haegeman-temmerman.be on.

"For example," they explain, "the select option menus are styled by the operating system. They will look different on older operating systems, windows computers, different browsers etc. On mobile devices, these things style themselves to a usable interface - that even vibrates if you define this in the phone settings." Because of this, they describe the portfolio as more of a programme than a website and, as many decisions are out of their hands, it mimics their working style.

Languages used:

"The website is built as a custom template in Wordpress. No special libraries, just some jQuery and PHP scripting."

Tom Gould is a New Zealand-born, New York-based photographer and director who, when he needed an identity and portfolio refresh, enlisted the help of Elodie Fabbri, a digital art director based in Paris. "The idea behind the design of the site was to highlight his films in the best possible way, without too much fuss going on with the interface," she tells us. This led her to the decision to re-appropriate one of the best-known and most-used interfaces in the world: the Instagram Story. "Basically you navigate through the site and after a few seconds the interface fades away, you can just let the site plays the content for you, a bit like a fast-paced TV," she adds.

In terms of interaction, Elodie kept things minimal and so on initially landing on the page, users are presented with a list of Tom's prestigious clients and they can instantly jump into any film they want to. But, again, if you don't interact, the site starts playing the first video automatically. These videos transition smoothly between one another via a sliding effect and users can keep track of their progress through Tom's portfolio by using the bar at the bottom of the screen. Another small user interface detail which Elodie tells us about is what occurs "if you go to the "_Bury Me With The Low On_":https://tomgould.com/bury-me-with-the-lo-on project on the slider Tom created images as well as videos. So we created a transitional state where the bar at the bottom would extend to become a play-bar itself. That's the kind of detail I like to think of, making the browsing experience as smooth and consistent as possible." Details such as these were brought to life with the help of Theo Tillberg, a developer Elodie met while working at Hi-Res! in London.

Languages used:

Theo explains: "The site was made with ReactJS and was my first take on Hooks. There's a headless Wordpress+ACF install to manage the content and to build the 'stories'. The site is also relying heavily on Vimeo's API and service to deliver snappy playback. While the site was pretty straightforward to develop, the key challenge was ironically the autoplay feature. As stated above this plays a central role in the experience and some recent browser restrictions prevent video with sound to play automatically. We solved this by kicking off a muted video in the background and wait for the first user interaction. The click, or touch event would be captured and used to unmute the video element which in its turn would be recycled for every video slide throughout the website."

Christoph Knoth and Konrad Renner: Sternberg Press

This is a site we noticed floating around all over the internet and so we had to reach out to its designers, Christoph Knoth and Konrad Renner AKA Knoth & Renner to find out about their overhaul of Sternberg Press' website. They explain how, for the publisher, they wanted to create a "meaningful and individual display for each of their brilliant publications." This meant, they essentially needed to think of "a single website for each of their 769 books, or a template that somehow reacts on specific parameters, that can carry the individual topic, book design and voice, inside a coherent and strong platform."

The result sees a different coloured background used for each book, for which the colour is programmatically taken from the book cover and then converted into the opposite colour. "It's a simple idea but generates a design that surprised ourselves the first time we saw it. On the one hand it creates a colourful grid, on the other hand, it gives every book a unique stage. After a few test runs it worked so well, that it became one of the key ideas for this project," they tell us.

One element which can't go unmentioned is the landing page which presents users with a cloud of floating books - the selection of which is made by the publishing house and will change from time to time. "It's a playful and unusual entry point into their immense portfolio that allows users to explore the books as 3D objects and quotes the former website with its iconic sparkling sound," the duo explains. "Another interaction one will encounter when scrolling through the all books section or a book category are the books sliding in from the bottom as almost life size objects that after some more scrolling scale down to the size they usually occupy in the grid."

The project was realised alongside New York-based design studio "Wkshps":https://www.wkshps.com/ for strategical questions and the German studio "Systemantics":https://www.systemantics.net/ who worked on the backend.

Languages used:

"We did not use any unusual frameworks or libraries. It is just good old jQuery with three.js and some standard Wordpress with WooCommerce."

The final site closing off 2019's Double Click is a particularly unusual one in the form of Nicky Tesla's portfolio. Presented as an editable Google Sheet, the aim of the site, Nicky tells us was to create a quick new portfolio to coincide with the closing of his studio, HAWRAF. "I think in my field portfolios, beyond just containing past work, should always contain the essence of the creator themselves, so I took this fairly seriously," he explains. "Since so much of my time is spent developing websites lately I've begun to feel a bit of website fatigue. I feel that most websites are boring- they're either the same CMS templates, or they too often fall into the trap of being the same in their 'differentness', e.g. over-tried 'brutalism', an over-reliance on GSAP micro-interactions, or slow, transitional WebGL Rococo."

To counteract this, Nicky decided to build something relatively minimal. "We had been working with a client who had organised the content of their site in a Google Sheet, and I thought- what if the google sheet WAS the site. Things just took off from there," he continues. "I built a really simple column system to organise the content, then thought it needed an element of surprise or joy. Since I was working with a cell-based grid, pixel art was an immediate next-leap for me. I tried incorporating some generative pixel art in the background, but it wasn't really compelling. I realised it might be more compelling if I invited users to contribute to the design (the desire to leave a mark, human nature etc.), so I went down the route of making it an interactive drawing tool. "

The sheet itself is an I-frame of a sheet that's hosted on Nicky's Google Drive and has a button at the top right-hand corner which, when clicked, opens up a 1-1 map of the sheet and allows users to fill a cell with a colour. This updates in real-time and so, if multiple users are on the site at the same time, you'll see their changes reflected on your screen right away.

Languages used:

"It's built with React, uses MobX for state management and is hosted on Netlify. The drawing tool is hooked up to a Firebase backend. The spreadsheet is hosted on Google Drive and runs a macro every minute that pulls from the database and colours the cells accordingly."

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Google Sheets, virtual playgrounds and floating clouds of books: it's December's Double Click

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To round off 2019's Double Click, we've got five amazing websites which demonstrate the versatility of web design and the surprising results the medium often produces.

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I think I will do some research and reference how can I recode the video, may experimental may be quite like a film feeling, and find some ai voice app

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I told Matt about my idea to add AI voices to a video about how my books work, and Matt
think that will be interesting and said may can add the Ai Narrator voice with my face but no voice; even use a more wired voice quite like the game NPC voice ( electronic, robot feeling); and fake face with real voice and real face with fake voice, etc.

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show the Powerpoint to Andrew with AI voice, Andrew said May I can warn people that 'you believe every sound you hear? or are you sure everything you see? ' before I start to play my presentation, and let people supervise and Cause them to think.

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At first I was thinking of drawing ink onto the questionnaire in the form of a screen print, but the teacher wasn't sure if the ink would harm the screen, so I had to try something else

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At first I was thinking of drawing ink onto the questionnaire in the form of a screen print, but the teacher wasn't sure if the ink would harm the screen, so I had to try something else

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The back cover is designed in the style of a mirror, hoping that the audience can reflect their own face, so that the audience can face their truest selves and reduce lies and falsehoods. The binding form of the book is not applicable to the normal binding form because of the use of many special materials. Finally, it is intended to take the form of perforated binding with a wrapped casing to represent the truth under the falsehood.

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Customized acrylic cards with iron dust added and inserted into the book, the iron dust is like the falsehoods of the internet, it needs to be rattled off to see the truth underneath

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pic comes from the key text

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Invisible ink will also be used to mark answers (fake or truth)

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Test the audience and interact with the answer of whether the picture is real or fake by masking it with a coating

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add new design for test audience, whether they have the ability to recognize the fake pic or not.

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The creative design of the text uses the characteristics of tracing paper to represent the fact that the truth is fragmented in nature and needs to be recognized and pieced together, hoping that the viewer will see all the truth dialectically rather than parsing it without understanding it, as well as showing the viewer how to tell the difference between false photographs.

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add new design

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Originally, I wanted to make a hollow form of the font, but after discussing with the factory, I was worried that the paper would be easily broken if the characters were too small and the spacing was too close, so I finally decided to use Thermochromatic ink for the redaction design.

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Mirror paper is used to simulate the effect of a mirror

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Learned the key text design method, which breaks the original INS interface layout design.