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Quotation details: Mimesis: Desarticulations (Paris: Flammarion, 1975), pp. 166-275.
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Additional info for Computer Arts (October 2004)
Whichever 3D package you use, making the most of your sketch renderer can give excellent results. But if your 3D software lacks a sketch facility, don’t fret – we’ll show you how to fake it in Photoshop! Take a look at the brilliant Smart car illustration you could create on page 60. On page 64, we unleash the power of Flash and come over all spooky, bringing life to an animated character using gestures and lipsync and ﬁnally, bring some relief to those of you frustrated by the intricacies of transparency effects in InDesign on page 68.
The joke at the time was that the logo sequence was more interesting than any programmes aired on the station. Blocks of colour swung in from all about the screen to a purpose-written fanfare, complete with desired shading and lighting effects. Modern reactions to the logo’s legacy remain mixed. “The design was bold and original, in comparison to the staid idents we were used to,” remembers producer Mario Cavalli of Colony Media. ” “It was big, bright and clean, and set the stage for ten years,” quips The Mill’s Dave Throssell.
It was big, bright and clean, and set the stage for ten years,” quips The Mill’s Dave Throssell. ” However, Lambie-Nairn’s idea had gone one further. It wasn’t just about the logo. The Channel 4 campaign was also about the brand of the station. “They needed to consider the identity of the channel as a whole,” says Lambie-Nairn in his book, Brand Identity for Television – With Knobs On. com for excellent histories, audio and video ﬁles. ” The original logo would have to work as an expensive CGI animation or a printed letterhead.