Hyperlapse is the ultra-smooth time-lapse style of photography that whisks you over great distances. For how ever-present video is these days, the technique is underutilized. We haven’t seen too many amazing videos created from it. Aside from this effort from Ukranian Kirill Neiezhmakov, whose A Gift From Rome is a stunning flythrough of the ancient Italian city. Utilizing a number of different cameras and clever editing, the video whisks you from place to place in style and grace. Via Sploid:
The Slo-Mo Guys do this type of stuff all the time, but seeing paint move at 2500 FPS is pretty neat.
M83 has been one of my favorite groups for some time, and in recent years their music has found its way into commercials, movie trailers and more. The moods that are built in the music are undeniably excellent, and so it was with great pleasure that I came upon their latest official video, for the single “Wait”. The epic video is a collaboration between Intel and Vice Magazine, and it really is cinema quality stuff. A friend posted this week that he thought it was some of the best sic-fi of the year, and its a five minute video! Make sure to watch it full screen, with the volume turned up.
M83 ‘Wait’ Official video from The Creators Project on Vimeo.
At first glance, this quirky music video by Eran Amir doesn’t really seem all that impressive, until you realize that it’s completely captured in camera, with no post-production colorizing. And then it’s like, “whoa. How’d they do that?”
Thanks to Colossal for the tip. And here’s the making-of video!
ParaNorman is a new stop-motion film due out this month by the animation firm Laika. Based in Portland, Laika has gotten critical praise for its first foray into feature films, Coraline. With their second film, Laika ups-the-animation-bar, using the first ever 3D printed pieces for a stop motion character. As you can see below, there are so many steps in just assembling the model that it makes the head spin.
The idea is not new. As much as I love Apple’s work, they did not invent the videophone. Not by a long shot. True, their iPhones and iPads help usher in a relevant and elegant solution to the age-old idea, but going back over a century, people have envisioned calling others using imagery as well as audio. Oobject has a cool collection of vintage videophones, both the real, clunky versions, and the make believe.
Imaginary Forces beautifully and artistically pays tribute to one of graphic design’s most cherished figures, Paul Rand. It’s one of the finest design tributes ever committed to film — bringing his work to life the only fitting way: by applying design thinking to design history.
Rand was a powerhouse in the world of design, creating iconic identities for IBM, UPS, ABC, Yale University, and many others. The video weaves interview footage with Rand himself alongside stunning animation of his work, revealing the mind behind the method.
He was posthumously inducted into The One Club Hall of Fame. It’s a fitting recognition for a man who essentially invented the vocabulary of modern visual identity.
Paul Rand was born in Brooklyn in 1914, and from an early age he had a compulsion toward visual order. He studied at the Pratt Institute, Parsons, and the Art Students League — but it was his self-directed immersion in the European modernists, Klee, Kandinsky, Moholy-Nagy, the Bauhaus, that shaped his philosophy most profoundly. He wasn’t learning to decorate. He was learning to think.
By his late twenties, he was art director at Esquire and Apparel Arts, producing covers that looked like nothing else being published in America. Bold geometry. Strong type. A visual confidence that felt almost aggressive in its clarity.
But it was his corporate identity work that would define his legacy. His genius was in making simplicity feel inevitable — as if the logo couldn’t possibly be anything else.
The IBM logo, created in 1956 and refined with its famous horizontal stripes in 1972, transformed a computing giant into something that felt both technological and humane. The stripes suggested speed and forward motion while keeping the letterforms elegant and authoritative. It’s still in use today, essentially unchanged.
The ABC television logo (1962) was even more audacious — just three letters locked in a perfect circle, stripped of everything extraneous. The UPS shield (1961) reduced a complex global brand to pure geometry. Each one looked like it had always existed, waiting to be discovered rather than invented.
Perhaps his most personal work was for Yale University, where Rand served as a graphic design professor for decades. His Yale Press books — spare, typographically exquisite — became collector’s items among designers worldwide. He didn’t just teach design at Yale. He modeled it.
In an era when design has fractured into infinite specializations and trends cycle faster than ever, Rand’s work is a reminder of what visual communication can be when it’s driven by ideas rather than novelty. His philosophy was both simple and demanding: the most effective design happens at the intersection of intellectual rigor and genuine playfulness.
His books remain essential reading — not technical manuals, but arguments for why visual thinking matters in the world. Thoughts on Design (1947) was radical for its time in treating graphic design as a discipline worthy of serious intellectual engagement. A Designer’s Art (1985) and Design, Form and Chaos (1993) extended that conversation across decades.
What the Imaginary Forces film captures so well is something that rarely survives in retrospectives: the feeling of a restless, precise mind at work. The willingness to strip everything down until only the essential remains. That instinct — ruthless simplicity in service of clarity — is what makes Rand’s work feel as modern today as it did seventy years ago.
Bizarre, dystopian, full of pipes and wires and gizmos, this 1985 gem from Terry Gilliam remains hilarious, captivating, and terrifically unique.