Creating the graphic packaging
The GDTS booth included a LED wall measuring 130 square meters. So there was really A LOT of space for us to fill with pretty pixels. A consistent design language was asked for by the briefing, so a graphic world wouldn't only need to work for the LED wall present but also for interactive touch screen stations, huge on site prints, posters, leaflets, webpages, and so on (all done by the amazing ps.brands). In terms of general tone everybody agreed that we wanted to go modern, reduced yet bold and head for a very versatile design while keeping everything in line with the established CI.
To cater for all these needs we opted for a modular design package that everyone could pick parts from as needed. Typography was chosen to be very clear with high contrast use of light and heavy font styles. We used subtle gradients a lot to go "flat design but not quite". There's a fancy wireframe world that can be used to show architectural context. There's 2d shapes and patters (to show clean structure and guidance) that are carried on into 3d space. And there's a Keyvisual that links the modular idea of GDTS 3-Systems approach together. Take all of that and combine it with a very reduced color palette of black and white plus subtle red and blues and you end up with our design language for GDTS tradeshow appearance.
One Company - Three Systems - Endless Possibilities. That was the prerequisite when we started developing the Keyvisual that was going to be used for huge outdoor prints, webpage headers, the tradeshow animation,... simply everything. And here's a few things we tried out in the process - and the finished piece at the end.
Architectural and Versatile
To be able to show the products of GDTS in their multitudinous environments a wireframe world was crafted that allowed to show various kinds of buildings like residential houses, supermarkets, industrial buildings, hospitals, factories and the like all in the same clean yet efficient style. And on top of that it needed to fit to the visual language of the rest of the animation and blend right in.
Capturing the real world
Working from the infamous 40k earth displacement map an reduced, modern and intricate map of the world was created to show the worldwide reach of GDTS. Everything you see here is based on reality, there was no info added, everything is taken from real world data. And by the way - if you want to create isohypses (contour lines connecting places with equal height over sea level) it is a pretty neat trick to bring your displacement map into Photoshop -> Solarize -> Trace Edges -> Cinema4D Vectorizer. Booom, a heapload of detail on your displaced world map.
Client: Glen Dimplex Thermal Solutions
Producer: Julian Fischer
reative Director: Matthias Zabiegly
3D: Christian Lachenschmidt, Steven De Loenen, Christian Scheck, Moritz Schwind, Stefan Voigt
Music & Sound Effects: Michael Fakesch, designingsounds