Adam Faucheux Flat 7

3 Eastern Terrace
Brighton
Tel: 01273 605284
Mob: 07921 558204
Email: movingshadow_uk@
Curriculum Vitae East Sussex BN2 1DJ hotmail.com

industry related experience:

Feb 2006 - Apr 2006 River Ocean Foundation, Brighton, East Sussex
Advertising & Web Design

Creative direction of an advertising campaign pitch aimed at increasing awareness of and

changing attitudes towards climate change.

Nov 2005 - Jan 2006 Age Concern, London (D&AD brief )

Advertising

Produced a billboard advertising campaign aimed at raising awareness of age discrimination

and challenging ageist stereotypes.

Nov 2005 - Jan 2006 Boomerang Media, Aldershot (D&AD brief )

Graphic Design & Advertising

Produced a collection of six celebrity driven anti-smoking postcards aimed at 25-35 year olds
within a bar environment.

Sep 2005 - Oct 2005 Nude Brand Creation

Innovation, Product Design & Packaging

Innovation of a new perfume product with the name “Embargo”. Designed bottle, logo,
packaging, point of sale and advertising.

Mar 2005 - April 2005 Spring, London

Graphic Design

Design pitch of four seasonal window displays for nationwide shop fronts of high street
clothing company, Fat Face.

Sep 2004 - Oct 2004 British Heart Foundation, London (RSA Brief )
Advertising

Produced an advertising campaign that uses shock tactics to encourage healthier eating
amongst the genreal public.

education:
Sep 2003 - Jun 2006 University College for the Creative Arts, Epsom, Surrey
BA (Hons) Graphic Design

Sep 2002 - Jun 2003 Colchester Institute, Colchester, Essex

BTEC Diploma, Foundation Studies in Art & Design

Sep 2000 - Jun 2002 Colchester Sixth Form College, Colchester, Essex
3 A Levels: Product Design, Media Studies, Physics
1 A/S Level: ICT

Personal Profile:
An enthusiastic, multi talented designer with a keen eye for detail. Able to work across a wide
range of mediums to deliver creative solutions. Always looking to improve on existing skills
and quick to learn new ones. A good team player with strong communication skills. Able to
work under pressure and use own initiative to see projects through to completion. Expert
knowledge in design software. Knowledge of printing processes and methods.
Personal Interests:
Design history, motion graphics, film, animation, illustration, photography, music, DJing,
travelling, snowboarding, skiing, badminton.

Personal details:
Adam Faucheux Date of Birth: 23rd September 1983

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Curriculum Vitae Nationality: British
 Editorial Design: A personal booklet that records the events of an unusual snowboarding experience.

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Design Investigation: An editorial booklet based upon a specific design area of interest, moving image.
Above: The opening
title sequence to The
Island of Dr. Moreau
(1996) designed by
Kyle Cooper whilst he
was working for R/GA.
The sequence begins
with type slowly fading
in and out over a black
screen. By the time
the title of the film
appears the pace has
become a rapid fire
of pulsating type and
close up imagery.
01
Right: The opening title
sequence to Martin
Scorsese’s Casino
(1995) begins with
Sam Rothstein, the
movie’s lead character,
falling through flames
whilst text fades in
and out on the screen.
Fire transitions into
the colourful signage
and illuminations of
the Las Vegas strip
and Rothstein keeps
falling. Rothstein’s
freefall represents the
out of control descent
into hell Scorsese has
in store for him.
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Personal Design Project: In Memory Of...
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Contents
Above: The opening
titles to Hitchcock’s
North by Northwest
(1959), designed
by Saul Bass, see
numerous diagonal
lines coming together
to form a grid, which
is later revealed to
be the outside of a
skyscraper.
Right: The animated
titles to the Pink
Panther were ground
breaking at the time.
1. Introduction
2. What are motion graphics?
3. The opening title sequence
4. Television channel identities
5. Getting your foot in the door
6. The way to the top
7. Bibliography
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Motion graphic design is a complex
skill usually handled by designers who
concentrate on designing for film or
television broadcasts. The general public
currently associate graphic designers with
static images and printed text but more
are now being associated with moving
images on TV screens and computer
monitors. Motion graphics are often used
in interactive multimedia but are not
necessarily interactive. Today there is a
growing presence of motion graphics on
television, the internet and other forms of
entertainment such as DVDs and video
games. When asked about motion graphics,
Paddy Cannon of the design company Dizzy
Mother replied: “it’s only the odd occasion
I get print work, which once companies
realise you can ‘move’ something it usually
leads to motion work”.
A misleadingly simple explanation of
motion graphics would be to say that it is
graphic design in motion. Motion graphics
often incorporate video, film, animation,
Above: The famous Right: Saul Bass’s
motion blurred early title sequence
opening logo to to Otto Preminger’s
Richard Donner’s Anatomy Of A Murder
Superman (1978). (1959) used hand cut
shapes that move to
form a human body.
1
photography, illustration and music. A
video or film of a moving image would not
be considered motion graphics unless
the footage was integrated with design
elements such as type, shapes or lines.
These elements don’t actually have to move,
as long as they change in some way over
time. For example, if type on screen were
to stay still but gradually change colours.
Motion graphics are two dimensional by
nature but may create the illusion of three
dimensional space.
The earliest application of motion graphics
is in film title design, where type in motion
can be seen dating back to the early 1930s
in films such as King Kong (1933). In the
1950s and 1960s innovators such as
Saul Bass and Pablo Ferro used animation
techniques to hand render seamless
compositions of type and image on film for
television commercials, short films and film
titles. The invention of digital technology
opened doors and transformed the way in
which we create motion graphics.
Introduction
Below 1: The moving
type at the beginning
of the Star Wars films
slowly disappeared in
perspective. This was
one of the first motion
graphic effects to be
computer generated.
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Above: A darkened,
spinning globe
provides a mysterious
atmosphere which
engulfs the classic
and distinctive logo
for the BBC’s flagship
channel, BBC1
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Xtaster.co.uk: Viral marketing and promotional campaign.
Below: Red Bee Media
created the recent
rebrand of ITV’s
identity. Each channel
within the ITV family
contains different
TV channels use the space between
programmes to engage the viewer with
upcoming attractions but also to run
complex branding messages as struggling
broadcasters fight for their audience share.
With last year’s D&AD gold award going to
Channel 4’s rebrand of their original 3D
computer animated 4 logo, recent major
rebrand campaigns have taken place for
ITV and Five, plus an upcoming rebrand for
BBC 1. It seems that television channels are
turning to graphic design more than ever
before. This has opened up a vast window
of opportunity for the graphic designer to
express an almost infinite amount of moving
image creativity.
Television identities have come a long way
since the days of slowly revolving globes.
The first signs of graphic design within TV
idents were seen in 1982’s branding for
Channel 4 by the internationally acclaimed
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Cliff Richard says:
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programming, Below: BB/Saunders’ typeface. Shown are Below: Here we see animated 4 logo. The
Cliff Richard says:
“I smoke to rebel against the man?”
personalities and new ident for Five the words rush, free, the award winning redesign was created
has a different target sees a different four fast and the original identity for Channel in-house by Channel
audience. The new letter word being Five logo. This makes 4 that puts a spin on 4’s creative director
idents are intended to revealed in each ident the ident fun and gives Martin Lambie-Nairn’s Brett Foraker and a
reflect this. in the established Five it potential longevity. original computer team of collaborators. Smoking helps Cliff fuck the system?
Smoking causes bad smells to get stuck in your hair, skin,
clothes and even your furniture.
Not smoking causes your risk of getting lung cancer to fall by
about half of that of a smoker.
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graphic designer and art director, Martin
Lambie-Nairn. At the time his pioneering
efforts “utilized innovative technologies to
create visuals that influenced the look of
television branding worldwide” (Bellantoni,
remember and it must have re-watchability.
1999). The 3D logo was designed to
The viewer needs to recognise that specific
represent the diversity of Channel 4’s
channel as a shortcut to lots of programmes
programme sources, all of which originate
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they will like and so stay with it.
from outside the company itself. This was
the first time pure computer animation
With each channel competing for viewers
techniques had been used for a UK
(especially now that there are so many
television company logo. Left: The original
channels to watch) the TV ident now plays
Channel 4 logo was
a central role in broadcast branding, a role designed by Martin
“The ident is the visual representation of
which is becoming increasingly important Lambie-Nairn and at
the personality of a given TV channel” (CR,
for TV channels. “The ident, in many ways, the time of it unveiling
2006) says Eve Rawlinson, who worked
is one of the purest forms of design on was at the forefront
on the ITV rebrand as a senior account of modern day 3D
TV” (CR, 2006) claims Richard Holman of
director at Red Bee Media. A good ident is computer effects. In
Devilfish, the design company responsible
one that the audience can appreciate and this sequence the
for Paramount’s recent rebrand. Whilst the
enjoy without being confused about what various parts converge
TV channels battle over viewers the motion
message is being sent out. Ultimately, it in space to assemble
graphic designers responsible are slowly the number 4.
needs to be something they can absorb and
taking over.
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Left: The opening titles
Bibliography for Alfred Hitchcock’s
Psycho (1960) is one
of Saul Bass’s most
visually dynamic
sequences. Bold, crisp
grey lines slide rapidly
across the screen
until they cover it
completely, revealing
the films title.
Left: The opening title sketches will then be drawn up by the TD
sequence to David and presented to the director and editor
Fincher’s 1999 film, at a second meeting. In response to their
The opening title sequence to a film can condensing the event into this one concept, Seven, designed by
make a major impact upon the viewer. Other this one metaphor…a back-story that needs feedback, TDs continue to refine their ideas
Kyle Cooper. This
than trailers and marketing elements, they to be told or a character that needs to be sequence used lots
and move on to computers, using specialist
are the first images the audience sees when
the lights go down. These quick sequences
introduced.” (Meggs, 1997). of experimental
photography
graphics software packages such as
Adobe Photoshop, Illustrator, After Effects,
(roughly lasting about two to three minutes) A lot of researching is required to make techniques and a
chilling Nine Inch Nails
Premier and Final Cut Pro. At this point they
can begin to create animated segments,
form a contract, outlining the filmmaker’s sure every graphic element from fonts to
soundtrack to create a specially designed fonts, or even live action
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sense of unease in the sequences (that may need to involve the
of those watching. In the words of director or period. When the budget is big enough,
Martin Scorsese: “film titles are, literally, the sometimes designers, such as Kyle Cooper
viewer. In many ways
the title sequence to
cast and crew of the film). Once the TDs
first sense you get of a film. And they have of the design firm Imaginary Forces, will go work is approved the digital artwork files
the unique job of setting the tone, providing to great lengths to create sequences that
Seven revolutionised
the film titling industry can be merged with the film background.
the mood and foreshadowing the action”
(Scorsese, 1997).
can seem like mini films in their own right.
TDs can be either; freelance, where they
and renewed interest
in the importance of Through my research I found that the
title design. majority of TDs come from a graphic design
Title designers (or TDs) design the opening
work independently, pitching for work using
their show-reels, or employed by digital and background. This is because TDs require a
titles to films as well as any captions that
appear on screen and the end credits that
optical effects companies, where they work
as part of a bigger team.
good knowledge of graphics, typography and
digital editing. Some may start out as junior
list all members of cast and crew. Their
purpose is to introduce such features as The opening title sequence for a film or
Designers working for Advertising Agencies
or Design Consultancies and then progress
time, location, plot, character, and vitally, television programme is usually created to becoming experienced Designers before
progressing to work in motion graphics
tone and atmosphere of the feature length near the end of the editing process. The
film to follow. Saul Bass, a world renowned title designer will initially meet with the for film and television. But, no matter how
experienced you are a Title Designer must
graphic artist and hugely influential designer director and editor to discuss themes and
in the film titling industry, once said “Making ideas that will influence the creation of the always have a strong portfolio of work and
a main-title was like making a poster - you’re opening titles. A range of story boards and an impressive show reel.
13 14
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examples of previous work:
Smoking helps Cliff fuck the system?
Smoking causes bad smells to get stuck in your hair, skin,
clothes and even your furniture.
Not smoking causes your risk of getting lung cancer to fall by
about half of that of a smoker.
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