Screens of the Future is Universal Everything’s ongoing series of visionary prototypes, based on the emerging technologies of flexible displays, shape-shifting materials and context-aware functionality.

These moving image artworks highlight humanity’s increasingly integrated relationship with technology, serving as product demos of our near future.

You can see more of their project here

#Future#Universal Everything

Ever wonder what life would be like if all our apps suddenly disappeared? Enter the App-ocalypse.

#App#App Store#Apple

Darkly playful video by London based Motion designer and director Michael Marczewski showing some poor, autonomous robots being pushed to their limits.

You can see more of Michael Marczewski’s work at
And you can watch the ‘making of’ video here

Music by Marcus Olsson

#Animation#Michael Marczewski#Video

Experiment #2 from my new series of explorations into light and sound. This time looking at the satisfying sound of analogue camera mechanisms from 1920’s–1970’s.

There’s something quite beautiful about getting real mechanical feedback when using a camera, something I miss a little bit more every time I take a picture these days. Ironically though, I shot the footage on my phone…

All of the snippets can be seen on my Instagram here:

#Experiments#Photography#Sound#Tom Walsh Design#Video

An edited down version of a 2004 personal project into light and memory that I’m thinking of revisiting. Watch this space…

#Experiments#Light#Lightbox#Memory#Tom Walsh Design

Lovely work from Imaginary Forces for Netflix’s latest cult show ‘Stranger Things’. By pairing 70’s type classics Benguiat (Ed Benguiat) and Avant Garde (Herb Lubalin) they’ve managed to use two of my possible all-time favourite typefaces by two of my type design heroes, and more importantly, made them work.

Inspired by Stephen King novel covers, which the show’s creators Matt and Ross Duffer sent to Imaginary Forces as reference, the sequence fills you with intrigue and unease. Perfectly setting the tone for the show to follow.

I think what I like about it most is the abstract details from Benguiat fading and pulsing throughout the background, showing the beauty of the typeface is in all of its fine details, before effortlessly blending together at the end. This, with the contrast of Avant Garde in the foreground, makes for what can only be described as type porn. Something rarely seen in such a commercial project, but I’m glad it made it through!

You can see more of Imaginary Forces work on their site here

#Animation#Avant Garde#Benguiat#Imaginary Forces#Lubalin#Netflix#Typography

A lovely, and darkly comedic stop-frame animation from Dutch Director Nina Gantz telling the tale of ‘Edmond’. Having won awards including a BAFTA for short animation, and the Short Film Jury Award at this year’s Sundance film festival its clear I’m not the only one to appreciate it. The soft, friendly aesthetic, coupled with the dark story of love and cannibalism make it both mesmerising and beautiful.

Directed by Nina Gantz
Produced by Emilie Jouffroy

#Animation#Emilie Jouffroy#Nina Gantz#Stop-frame#Video

Discover the LuxDeco Style Guide – a 92-page complimentary, interactive publication created to give you all the inspiration, tips and pieces you need to transform your home. Request your copy to access key spring/summer looks, exclusive pieces, inspiring tastemakers and practical style notes.

Read more about this project here

And order your free copy here

#Creative Direction#LuxDeco#print#Tom Walsh Design

Nice promo for Font Font’s new Open Type features by Stark Films. Based on the pangram ‘The Quick Brown Fox Jumps Over the Lazy Dog the film playfully highlights each of the new features introduced by Font Font through various contrasting mediums.

For more information on the new features introduced you can take a look here –

Directors: Rob Blake and Zu Kalinowska
Producer: Brian Papish


Lovely idea from RCA graduate David Hedberg. ‘Smile TV’ displays a scrambled ‘no signal’ message (remember those, before the digital switch?), unless the person in front of the screen smiles. The longer the viewer smiles, the longer they have a fuzz-free signal.

Here he explains the thinking behind the project to
“I thought about content and how we, in the old days, used to get it delivered into our household via antennas installed on our individual rooftops. When the reception failed, somebody had to climb up there and fix the antenna to pick up the signal again. Today, with information widely accessible, often at the palm of our hands, the question is no longer if we can receive, but whether we are receptive. In the economy of ‘liking’ things we have very much taken on the role of antennas ourselves – transmitting content on to each other.”

You can read the full article on Creative Applications here

And you can see more of David Hedberg’s work on his site here

#D avid Hedberg#Experiments#TV