Imaginary Forces is a design studio and creative agency.

natali golden

ryan burcham

lexi gunvaldson

steve garfinkel

kiyoon nam

merrill hall

zach kilroy

brandon savoy

james gardner

kathy liang

tiffani manabat

isabell hacker

tim williams

rob slychuk

jake ferguson

jackson kerr

megan catoe

kaye nguyen

heather wharton

jake kirk

russ gautier

larry danza

mark chernausek

lin wilde

erin bates

linda nakagawa

jens mebes

josh chesler

eleanor lipat-chesler

shelley goldman

simon kientiz-kincade

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Euro sports package for ESPN

Paint, pencil sketches and cartography connect the teams and countries to create a vibrant, dimensional visual system for ESPN’s UEFA coverage in 2016 and the 2020(1) refresh.

what we did.

Back in 2016, creative director Jeremy Cox and team created an opening sequence with a dynamic moving map of Europe, snapshots of competing countries, and CG statues of the world’s top players frozen in action. Over 200 broadcast elements were created in partnership with ESPN’s in-house creative team for the month-long tournament. With the 2020(1) broadcast package refresh, creative director Jens Mebes continued the dynamic gold, painterly aesthetic through the familiar etchings of world maps and statuettes.

and then...

This 2016 behind the scenes video takes you through how it all initially came together. Watch below!

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2016 creative director: jeremy cox
2020 creative director: jens mebes

producer: will arnold
art director: theo daley
designers: theo daley, maggie tsao, henry chang, patty wong,
hannah sung, jan nygren, michael cina
animators: henry chang, sekani solomon, seth minnich, adam tanner,
nathan goodell, ned piyadarakorn, patty wong, hannah sung,
dave rogers, cyprian sadlon, mark thompson, chris vincola, pat arrington
paint wrangler: max strizich
systems management/render wrangler: matt carroll
coordinator: krista templeton
executive producer: jon hassell
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2020(1) Refresh
designer/animator: kiyoon nam, charlie proctor, merrill hall, deandre moore
producer: ryan burcham
coordinator: jake kirk

UEFA ESPN Sports Package 2020(1) Refresh of the 2016 Euro Cup Sports Package

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Lisey's Story main title for Apple TV+

Directors Karin Fong and Osbert Parker teamed up to orchestrate a duet of marionettes, creating a hauntingly tender main title sequence for a series adapted from the Stephen King novel.

what we did.

At the suggestion of series director Pablo Larraín, we dove into the world of puppetry to conceptualize a story that would convey the inner life of Lisey, played by Julianne Moore. Finding metaphor in the strings, we designed the two main characters as marionettes, combining classical craft and modern technology. By working with master puppeteers, we developed a live-action performance that we then shot, edited and enhanced with vfx to underscore the emotions and transformations that unfold.

directors: karin fong, osbert parker

cinematographer: michael bernard
puppeteers: tyler stuart, jeff speetjens
puppet fabrication: michael curry design
prop stylist: matthew eikelberger
edited by lexi gunvaldson
lead designer/modeler/animator: henry chang
animators: merrill hall, russ gautier
storyboard: justin quinlan
vfx support: brandon savoy
additional design: kathy liang, fernando lazzari,
jake ferguson, isabell hacker
interns: kayley wang, eugene hyun
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producer: renee robson
production coordinator: jake fritz

Lisey's Story Main Title for Apple TV+

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'VS RULES' film for SK-II

SKI-II ‘VS Rules’ follows competitive surfer Mahina Maeda’s journey of learning and redefining beauty standards. Directed by Alan Williams in collaboration with WPP, the film pays homage to Maeda’s rich, cultural upbringing where the beauty of competition fuels her determination for success at the 2021 Tokyo Olympics. Learn more about SK-II’s #ChangeDestiny Campaign

what we did.

‘VS Rules’ was an impactful narrative-driven character animation mixed with splashes of cinematic live action. We collaborated on writing the script, shooting the live-action pieces with Mahina Maeda in the water, and the project focused heavily on the authenticity of Japanese culture while maintaining an artistic flare with the animation.

Check out a behind the scenes look on the filming of’VS Rules’ capturing Mahina in her element in Tahiti below.

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director: alan williams

producers: christine hernandez, jon hassell
writers: leo savage, alan williams
art direction: jake ferguson
lead cel animator: jahmad rollins
lead animator: henry chang
lead design: ella lee
character design: henry chang
cg lead: jake ferguson
cg technical direction: meng-yang lu
cg modeling: kent floris
animators & compositors: jake ferguson, isaac taracks, kiyoon nam
henry chang, ned piyadarakorn, john dougherty
edited by jeremiah shuff, lexi gunvaldson
vfx animation: russ gautier
storyboards: tyler gibb
title design & illustration: daae kim
researcher & translator: sakuya mio
portrait of mahina maeda painted by: ikenaga yasunari
production coordinator: tucker reese
executive producer: jon hassell
executive creative director: peter frankfurt

VS Rules SK-II FILM

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93rd Academy Awards

The Oscars promo was based on an illustration by Temi Coker. Translating Coker’s illustrated Oscar statue into a 3D mixed-media space with varying realistic textures and simulations of paint exploding. The aesthetic and motion design language of the launch promo was then extended into the graphics package and promotional toolkit for the ABC telecast.

what we did.

We developed a visual system for the live virtual event and accompanying marketing elements. We took a stark departure from the typical moodier aesthetic of years past and surprised viewers with a lightness and funky eclecticism that felt uniquely modern and culturally relevant.

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creative director: alan williams

producer: jj gerber
dp: christian haberkern
art/design: temi coker
2d animators: alexis lim, miguel delcan
3d animators: nick woythaler, charlie proctor, patrick arrington, jose checa
compositor: coche gonzalez
editor: danielle white
based on artwork created by temi coker
coordinator: jake fritz
head of production: melody alexander

93rd Academy Awards Main Titles, Promos, Graphics Package

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Elements of a Supervillain
Interstitials for Supervillain: The Making of Tekashi 6ix9ine

Documentary director Karam Gill approached us with an audacious and darkly funny mission for his docu-series on Tekashi 6ix9ine: create a series of interstitials that would chronicle the manufacture of the infamous rapper’s persona and fame, as if made in a lab.

We put the stitches in snitches

Imagining Tekashi as an action figure, we designed, shot, edited, animated and produced “Elements of a Supervillain,” nine segments that run through the Showtime series. Narrated by Giancarlo Esposito, each one focuses on a factor of the Supervillain equation: Trauma, Ego, Weaponry, to name a few. This is a lab where every move is calculated with precision, a volatile mix of chemistry . . . until what is created ultimately takes control.
Directed by Karin Fong

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director: karin fong

producer: renee robson
cinematographer: jr kraus
lead designer/animators: henry chang, james gardner
editors: lexi gunvaldson, zach kilroy
animator: merrill hall
prop master: matthew eikelberger
prop assistants: stephanie mace, brady peterson
action figure designer: tim sepulveda
on-set vfx supervisor/ animator: kiyoon nam
hand models: rachael cohen, jessica shereshevsky
design prep: kathy liang, ailis o’reilly
design interns: phillip han, zach hartman
colorist: beau leon, framestore
production coordinators: jake fritz, jackson kerr

Elements of a Supervillain Interstitials for Supervillain: The Making of Tekashi 6ix9ine

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Supervillain: The Making of Tekashi 6ix9ine
main title for Showtime

The calculated construction of a Supervillain–that’s the powerful theme that documentary director Karam Gill explores in his Showtime series on Tekashi 6ix9ine. To introduce the premise and the show we constructed a lab in which we see the making of the infamous rapper.

what we did.

Rainbow test tubes. Chemical reactions. Toxic dyes. Electronic interventions. Questionable body molds. And a rat in an IV bag. We got it all on camera, with a couple visual effects to juice things up. Just another day at the lab.

director: karin fong

producer: renee robson
cinematographer: jr kraus
designer/animator: henry chang
editors: zach kilroy
prop master, matthew eikelberger
prop assistants: stephanie mace, brady peterson
on-set vfx supervisor: kiyoon nam
hand model: jessica shereshevsky
design intern: phillip han
colorist: beau leon, framestore
production coordinators: jake fritz, jackson kerr

Supervillain: The Making of Tekashi 6ix9ine Main Title for Showtime

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Black History Month “True Black Impact” Campaign for BET

We were lucky to partner with BET for their Black History Month “True Black Impact” campaign in which we honor the achievements and continual contributions Black people have made to shape our society and culture.

what we did.

“This 3-spot campaign, Progress, Simple Things, and Movement, addresses how Black Impact is joyful. Black Impact is current. Black Impact affects us more than most people know and we are proud to help tell that story.” – Creative Director Kathy Liang

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creative director: kathy liang

producer: keith bryant
art director: tim williams
designers: kiyoon nam, tiffany shen, jonathan sangster
animator: miguel delcan
editor: danielle white
coordinator: jake kirk
head of production: melody alexander

True Black Impact BET Campaign

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Identity for NFL Network

The NFL Network wanted a fresh take on the traditional sports graphic that’s more inline with their modern and premium approach to the brand.

what we did.

We created bursts of colors that represent the NFL’s 32 teams. As we fly through multiple team colors we reveal a logo of epic scale that captures all the colors and energy of the NFL teams.

creative director: tosh kodama

producer: ryan burcham
art director: brandon savoy
animators: brandon savoy, alejandro robledo, jan sládečko
designer: brandon savoy, henry chang, isabell hacker
flame artist: eric mason
design intern: eddie livingstone
production coordinator: jake fritz
head of production: melody alexander

NFL Network Hallmark Logo

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"VS MACHINES" film for SK-II

‘VS MACHINES’ is a tribute film to Japan’s first ever Olympic badminton doubles Gold medalists Ayaka Takahashi and Misaki Matsutomo. Directed by Alan Williams in collaboration with WPP, the film explores a futuristic dystopia where competition is the main reason for existence. Learn more about SKII Beauty Is #NoCompetition Campaign

what we did.

“Our main creative challenge was to take the all-too-common reality of toxic expectations faced by all women – not just Takahashi and Matsutomo – and repackage it in a way that made the viewer see it with new eyes and truly feel it. Through the poetic language of human-turned-robots and a towering kaiju, I feel our team did just that. I couldn’t be more excited to share this with the world.”
– Alan Williams, Director

A bespoke soundtrack was created by Eclectic Sounds who composed and designed the track as the story was developed.

director: alan williams

producers: christine hernandez, jon hassell, aleen kim, jared libitsky
writers: leo savage, alan williams
lead design & art direction: russ gautier
cg technical direction: russ gautier, meng-yang lu
lead animator : james gardner
cg character design : kelton cram
animators & compositors : james gardner, jake ferguson, henry chang, blaise hossain
matt shadis, jesse bafia, daniel onassis
character animation : evan mayfield, matt parent
designer & animator: sekani solomon
edited by jeremiah shuff, lexi gunvaldson
vfx animation: russ gautier
storyboards: tyler gibb
researcher & translator : sakuya mio
production coordinator: tucker reese
executive producer: jon hassell
executive creative director: peter frankfurt

VS Machines SK-II FILM

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IF Returns to Shakespeare 20 Years On

Watch our new reel and read about it on Stash.

what we did.

“Imaginary Forces got its name from Shakespeare’s ‘Henry V’ prologue. It speaks to who we are as a company and reminds us to use our ingenuity and resourcefulness to imagine and express a better world. Given everything that’s going on these days – the pandemic, upcoming election, social and racial injustice, it resonates now more than ever.” – Peter Frankfurt, ECD and Co-Founder

director: alan williams

narrator: brittney walker, director of
business development
editors: lexi gunvaldson, zach kilroy
audio mixer: herman forsman
producer: sarah schachte

IF Reel WATCH IT HERE

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Little Fires Everywhere main title for Hulu

The main title sequence for Little Fires Everywhere depicts just what the name describes, little fires everywhere. We created a ballet of burning objects, tumbling, floating, and falling through the dark.

what we did.

Using high-speed camera technology, we captured flames as they engulfed various objects from the show including bespoke props, key wardrobe pieces and finally a model cardboard house. The result was a cinematic sequence that speaks to the underlying motifs and major plot points without giving away the show’s secrets.

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director: karin fong

producer: renee robson
director of photography: jr kraus
designers: katherine liang, isabell hacker
editor: lexi gunvaldson
flame artist: rod basham
line producer: evan jones
coordinators: jackson kerr, nicole gutzmann, max linnett
head of production: melody alexander
executive producer: wandie kabule

Little Fires Everywhere MAIN TITLE FOR HULU

IF x Motionographer 24 projects for 24 years

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Identity for Netflix Originals

Beams of colored light travel through space and converge to form the logo signifying the diversity of Netflix’s vibrant catalogue. With Hans Zimmer’s original score this opening transports the audience to their next theatrical film experience.

what we did.

Working closely with the Netflix brand team we first developed the theatrical logo. After its successful premiere at the Venice Film Festival in front of Alfonso Cuarón’s “Roma,” the scope of the project expanded to include the platform; resulting in a unified identity preceding all original Netflix content.

and then...

Netflix’s global brand expression was born. The identity now lives on social, print, and the platform for all originals, and continues in its original form – in theaters around the globe.

creative director: michelle dougherty

producer: keith bryant
cg supervisor: meng-yang lu
lead animator: evan sexton
animators: christoph gabathuler, lindsay bohn, miro klasinc
designers: evan sexton, wes yang, pete mcdonald, peggy oei, arisu kashiwagi
design phase producers: tammy kohan, keith bryant
design phase associate producer: rachel cohn
design phase designers: christoph gabathuler, stephan burle, josh childers
design phase animators: adam webber, cassandra krul, eric demeusy, cisco torres
design intern: bara kown
executive producer: jon hassell
head of production: franceska bucci

Netflix IDENTITY

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Gita product launch for Piaggio Fast Forward

Meet Gita: your versatile and intelligent robot companion. Pronounced “jee-ta,” this cool sidekick will carry your belongings so you can walk freely without being weighed down by life’s burdens.

what we did.

Partnering with Piaggio Fast Forward we introduced this mobile robot to the world. The ‘roll out’ phase included identity development, messaging, a website and lots of branded assets. While Gita may not speak for itself (at least not yet) the brand’s colorful and playful approach speaks volumes.

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creative director: tosh kodama

producer: kevin shuster
executive creative director: peter frankfurt
designer: nils kock, elizabeth steinberg, kathy liang, jesse kramer,
juliana arrietty, lindsay leonard, merrill hall, justin mays
animator: meng-yang lu, john ballas
strategy / copywriter: loren schiller, josh chesler
photographer: judd lamphere
intern: daniel kwon
coordinator: alex desanto
head of production: franceska bucci

Gita MARKETING CAMPAIGN

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PepsiCo's brand expression at Oculus in NYC

19 gigantic digital screens, 14 unique brands, 350,000 daily commuters. PepsiCo needed 1 cohesive content creation plan. That’s when we got the call.

what we did.

Collaborating with PepsiCo’s Creators League Studio we designed, tested, prototyped, produced and deployed the brand’s inaugural digital screen campaign at one of the newest and busiest commuter hubs in the world.

directors: audrey davis & theo daley
producer: will arnold

Pepsi Westfield EXPERIENTIAL DESIGN

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Main Title for Bill & Ted Face the Music

It’s been 20 years since their last Bogus Journey, but the Wyld Stallyns’ are back! For the opening sequence, we show Bill & Ted’s journey over the last 2 decades, and set the stage for one more excellent adventure.

what we did.

“Together with the filmmakers, we asked ourselves how we could make a sequence that feels real and true to their musical journey – something as authentic as any music doc out there. And so began a most excellent journey into the treasure trove of pop culture that is the 90s to the present, designing everything from album art to articles to answer the question that we all want answered: Where Are They Now?” Karin Fong, Creative Director.

creative directors: karin fong & grant lau

producer: rachael cohen
editors: zach kilroy, lin wilde
designers/animators: brandon savoy, rob slychuk, timothy williams
designer: isabell hacker
flame artist: rod basham
design interns: zach hartman, gabe nadel
production coordinator: jake kirk

Bill & Ted Face The Music WATCH THE MAIN TITLE

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I'll Be Gone in the Dark main title for HBO

The series explores one woman’s obsessive search into the world of the Golden State Killer, a predator who terrorized California in the 1970s and 1980s. Based on the book, “I’ll Be Gone in the Dark” refers to the words he would say to his victims.

what we did.

We created the title sequence that takes the viewer through a distinctively suburban neighborhood, shadow and light sweep through the frames, the audience begins to feel the sinister sense of being watched. The turning corners and light appears through a door ajar, we begin to question whose perspective we are seeing through the eyes of – a violent, unrelenting predator, or the mind of Michelle McNamara herself?

creative director: karin fong

designers/animators: merrill hall, henry chang
designer: kathy liang
editor: lexi gunvaldson
design intern: ailis o’reilly
design intern: eryn hsu
producer: rachael cohen
production coordinator: jake kirk

I'll Be Gone in the Dark MAIN TITLE FOR HBO

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For All Mankind main title for Apple TV+

For All Mankind imagines a world where the Soviet Union sets foot on moon first, beating the United States in the Space Race. What happens next is out of this world.

what we did.

Gilded lines deviate and converge in a graphic, tactile space paying homage to the past while hinting to an alternate future. These lines create the show’s logo, reminding us of the common thread we all share.

creative director: alan williams

producer: aleen kim
art director: max strizich
designers: max strizich, henry chang, clint chang, sam alexander
animators: max strizich, rick kuan, hogan williams, henry chang
editor: jeremiah shuff
compositors: max strizich, rick kuan, henry chang
copywriters: bo bishop, loren schiller
storyboard artist: wes simpkins
head of production: aleen kim
associate producer: meredith engstrom
executive producer: jon hassell

For All Mankind MAIN TITLE FOR APPLE TV+

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Originals identity for HBO Max

HBO Max wanted an originals identity that nods to the brand’s iconic “static” in a fresh, vibrant way. This mnemonic precedes a roster of Max Originals on the new streaming platform.

what we did.

Working closely with HBO’s brand team we explored concept, design and audio development before producing the final animation.

creative director: karin fong

producer: steve garfinkel
designer/animator: ivan cruz, brandon savoy
animator/compositor: jesse jones
coordinator: jackson kerr

HBO Max OPENER

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Opening & End Credits for
The Boys in the Band

Director Joe Mantello wanted a title that did two things; gave a nod to 1968 New York City and ANNOUNCED its arrival. What better way to do it than big, beautiful Neue Haas Grotesk on black!

what we did.

“The beautiful cinematography and exciting intro music demanded a type treatment that was bold yet simple. The knocked out effect helps go back into the film seamlessly after a powerful title reveal.” – Creative Director, Harshit Desai

creative director: harshit desai

senior producer: steve garfinkel
designers & animators: chavilah bennett, nicole dileo, chloe woo
head of production: melody alexander
coordinators: sarah schachte, jackson kerr

The Boys in the Band Opening & End Credits

Imaginary Forces is a design studio and creative agency.

the forces

Euro sports package for ESPN

what we did.

and then...

2016 creative director: jeremy cox2020 creative director: jens mebes

Lisey's Story main title for Apple TV+

what we did.

directors: karin fong, osbert parker

'VS RULES' film for SK-II

what we did.

director: alan williams

93rd Academy Awards

what we did.

creative director: alan williams

Elements of a Supervillain Interstitials for Supervillain: The Making of Tekashi 6ix9ine

We put the stitches in snitches

director: karin fong

Supervillain: The Making of Tekashi 6ix9ine main title for Showtime

what we did.

director: karin fong

Black History Month “True Black Impact” Campaign for BET

what we did.

creative director: kathy liang

Identity for NFL Network

what we did.

creative director: tosh kodama

"VS MACHINES" film for SK-II

what we did.

director: alan williams

IF Returns to Shakespeare 20 Years On

what we did.

director: alan williams

Little Fires Everywhere main title for Hulu

what we did.

director: karin fong

Identity for Netflix Originals

what we did.

and then...

creative director: michelle dougherty

Gita product launch for Piaggio Fast Forward

what we did.

creative director: tosh kodama

PepsiCo's brand expression at Oculus in NYC

what we did.

directors: audrey davis & theo daley producer: will arnold

Main Title for Bill & Ted Face the Music

what we did.

creative directors: karin fong & grant lau

I'll Be Gone in the Dark main title for HBO

what we did.

creative director: karin fong

For All Mankind main title for Apple TV+

what we did.

creative director: alan williams

Originals identity for HBO Max

what we did.

creative director: karin fong

Opening & End Credits for The Boys in the Band

what we did.

creative director: harshit desai

2016 creative director: jeremy cox
2020 creative director: jens mebes

Elements of a Supervillain
Interstitials for Supervillain: The Making of Tekashi 6ix9ine

Supervillain: The Making of Tekashi 6ix9ine
main title for Showtime

directors: audrey davis & theo daley
producer: will arnold

Opening & End Credits for
The Boys in the Band