Working with specialists in different disciplines is always rewarding. For this project I created the sound identity for the diversity and inclusivity consultancy 'included'.

The wonderful Paul Finn at Fitzroy&Finn https://www.fitzroyandfinn.co.uk/ (right click to open in new window) created and designed the new identity, and talented motion designer Ariane Geil https://cargocollective.com/ariane (right click to open in new window) brought the identity to life – the sound composition responded to the animation and was designed to work within tight time constraints. ⬇︎ (view and listen below)

Sound elements:
The elements chosen for included are based on a sound palette of 3 elements. Conceptually, one element for each syllable of the word [in- clu - ded]. These were developed and integrated into a sonic environment that gives a sense of space and atmosphere. Imagine a room tone where it feels warm but spacious.

Composition:
Playing with the temporal order of sound, a particle and cluster like treatment was generated from the source sound: that being a Mallet. This sound design process was chosen to relate to the particle like shapes that glide on and attract others to a colourful central nebulus. Visually this was created to emulate the feeling of togetherness (attractor) and so was the particle like sound and reactive sound elements through the animated sequence. ⬇︎ (view and listen below)

As a recap:
Overall, a 'soundworld' was created for the brand that responded to the colourful spectrum of the identity and animation. This was mirrored with the choice of instruments. A vibraphone that had a natural tremolo created a colourful sound element. A feeling of space from the instruments and positioning in the short composition was created with various sonic treatments. How this is integrated can be seen and heard here:

https://www.included.com/insights/videos/

⬆︎ above is the Graphic notation score of one of the compositions.

Background & creative approach:
Having worked with acoustical engineers from Arup's on Crossrail, or with Kirkegaard Associates in N.America; my industrial design experience has a layer of knowledge built upon the application of spatial treatments (products for interior environments) plus understanding acoustics relating to the legibility of sound in public spaces & places (transit platforms and concourses). My interest doesn't stop there - having co-designed products for the healthcare environment, an interest in sound theory and acoustic practice conjoined with its effects on human health and wellbeing have also been a part of my learning.

What we do, feel and how we act when a place or space sounds uncomfortable is quite considerable. The general point is, industrial design when applied to environments and places, changes how things visibly look and feel more obviously (and is probably more immediately understood) than how a place sounds. The latter point is of a near invisible nature, but nevertheless important in space / placemaking strategies.

So, my acoustic interests, and sound practice background could really be applied to this project. Please also see my Log to listen further to some location recordings: https://misterblack.co.uk/blog?page=2.