Bicep II
Intersectionism
27 February
2020







To:
Build Bicep II as a collection of different states of transcendence, continuity, and contemplation in physical and post-digital objects.
Freeze moments in time to create tangible memories: post-sculptures that exist in the real world while also in the digital world.Objects will then be used to develop a visual language for:1. album 2. singles 3. campaign 4. motion assets for the campaign 5. motion assets for live visuals.
Unlike cubism that is, in essence, referential to physical action in a single image, these frozen movements build a solid structure that can be perceived in all shapes and angles of a set moment.

Why:
By freezing continuous moments the experience provides polyedric vision, enabling emotional states to be experienced and perceived in all angles, in extasis.

Framing emotions refers to primal states of transcendence by allowing infinite perspectives of the same frozen moments.

It becomes an intimate experience that is completed, through music, by the viewer, that can eventually become digitally interactive.

How?
Each single will refer to each post-sculpture in rythm and expression, while the album and overall campaign will behave with the sum of all tangible memories, taking stock of the fact that every sensation is really several sensations mixed together.

These sculptures will be used using analogic mediums while also digitized into the 3D world, so that each can become the source and the outcome for the visuals and motion/live needs. An experience of living-songs and intersectionism.

By existing in a post-sculptural reality, these moments are objects that may pause and accelerate with time. Going beyond their physicality, there is the intention to use a non-linear timeline where moments inside the freeze may interact and overlap with each other. This, again, points to the idea of intersectionism, where memories are not perceived nor stored in the brain in a linear way.







Bicep Album
Main concepts:
- To zoom out of the macro scale of the singles and depict the monumental dimension of the whole album. Emotional catharsis. Using typography in the background, we stay away from the detailed intertwined universe of the 12’’s and enter a world of dimension, rhythm, detail, and energy to frame the layered musical landscapes of Bicep II.

General concerns:
- To be iconic, monumental through sculpture, and bold in perception.
- To be visually distinct from the singles, while belonging to the same visual universe.
- To provide a notorious difference in typographic landscapes from the single.
- The typography as an important role in the final composition but is not the main element. It is here to bring complexity and dynamism to the composition and is shaped and ruled by the images.
- Rich imaginary to be applied in 4/5 different covers.










1. Multiple element composition


The following images focus on the most dynamic compositions.
Rich, full forms are used in the dialogue with the typographic flow. With more than one central element this approach contrasts less with the one used in Atlas. The complexity in the images is balanced with small scale typography that provides depth and movement to the final composition.







































2. Single element composition


The following set of covers focuses on the most iconic compositions, being our recommended direction.
This approach actively searches to create a dialogue with the singles, focusing on the monumentality
of the full sculpture, enriching it with full-width microscaled typography to create an atmospheric and rhythmic family of covers.
The central element on this approach adds complexity and catharsis to the album cover.
The typographic treatment accentuates dynamism and adds contemporaneity to the final composition.




































Thank you!