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Extending beyond static design, we defined a motion-driven identity where behaviour, transitions and rhythm become intrinsic to the brand, allowing it to live fluidly across gameplay, packaging, in-house content and global campaigns.

This is further enhanced through bespoke brand mnemonics and sound design, creating a cohesive audio-visual identity that strengthens recognition, emotion and recall across every entertainment touchpoint.

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https://rarible.com/vincent_art

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Tales of Kenzera: Zau ™

Created by Surgent Studios of EA Originals, Zau is a beautiful tale about a young shaman who loses his father and goes on a quest to bring his dad back to life. We worked on the design of the Zau boot flow. This game celebrates the rich heritage of the African continent, particularly the Bantu People. Abu Salim and the Surgent Studios team with  EA Originals were a dream client. It was an honour to work with a team that has a fantastic clarity of vision with a great story behind it.

Wildhearts ™ 

The visually stunning AAA game from Koei Tecmo’s Omega Force Studio and EA Originals is a game set in a fantasy world inspired by feudal Japan and focuses on hunting large, fantastical creatures known as Kemono. The style of the sequence echoes the beautiful environment of the game and the Japanese artform of ink calligraphy.

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The visual identity represents 3 core game making stages – pen to paper initial concept, game build & modelling, through to final pixel render output.

Sound design played a key supportive role during the process and helps establish an ownable brand and unique sound.

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We set out to create a near-future operating system framework governed by an AGI “mother” intelligence, echoing the calm, omniscient presence of HAL 9000. The system was conceived as something Safin could converse with—an entity of superior intelligence, yet visually grounded in a heavy, mechanical, almost archaic brutalist aesthetic.

The interface language was built around strict spatial logic. Motion behaviour was confined to a grid-based system, with elements sliding along the XY axis and scaling across infinite parameters. This created a UI that felt otherworldly and highly advanced, yet inherently legible, allowing audiences to intuitively follow how information was structured, revealed, and controlled.

Visually, the design drew from Soviet-era instrumentation, industrial control panels, and Cold War infrastructure—power stations, mechanical command systems, and analogue interfaces. This translated into rigid grids, utilitarian typography, and a sense that everything was engineered with purpose rather than styled. The operating system needed to feel both incredibly advanced and physically grounded, heavy, cubic, and systemic.

The colour palette was predominantly anchored in red, with restrained accents of primary colours used sparingly to guide hierarchy and interaction. This restraint reinforced the tone: controlled, dangerous, and precise.

We also explored concepts for environments predominantly lit by LED video walls, designing graphics not just as screen content, but as integral components of the spatial language. This allowed the UI and the physical set design to merge into a single cohesive system, where light, surface, and interface became one unified visual experience.

The result was a system that felt intelligent, imposing, and deeply character-driven, an extension of Safin himself. One of those projects where concept, narrative, and design language aligned perfectly – loved this one

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Main Title sequence designs, VFX shots for CIC chart table, captains log book

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Our work focuses on how imagined future technologies behave under pressure, how an AI reasons, how a planetary defence system responds, how a bio-digital network visualises data in real time. Interfaces are built on defined rule sets: spatial logic, modular architectures, motion grammars, and interaction protocols that suggest a deeper underlying technology. From autonomous intelligence systems and predictive surveillance networks to advanced weapons control and planetary-scale infrastructure, every detail is designed to feel plausible, functional, and grounded in speculative science.

Motion is critical to expressing this intelligence. We choreograph behaviour to convey computation, decision-making, and control systems that don’t just display information, but actively process, react, and evolve. Timing, transitions, and state changes are treated as signals of machine logic, creating interfaces that feel alive, responsive, and cognitively present within the scene.

Generative AI plays an increasingly important role in this process, enabling us to explore vast design spaces and visualise complex, non-linear data systems that would be difficult to conceive through traditional methods alone. Used in combination with precise design frameworks and cinematic craft, it allows us to prototype and refine futuristic interface languages at speed, pushing toward more ambitious, intelligent, and immersive visions of the future.

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Lyutsifer Safin – Designing the nemesis character systems for No Time to Die was a uniquely atmospheric challenge, centred around crafting a bespoke UI language for Lyutsifer Safin. The direction drew heavily from Russian brutalism and Cold War-era visual culture, embracing stark geometry, monolithic structures, and a sense of oppressive control.

We set out to create a near-future operating system framework governed by an AGI “mother” intelligence, echoing the calm, omniscient presence of HAL 9000. The system was conceived as something Safin could converse with—an entity of superior intelligence, yet visually grounded in a heavy, mechanical, almost archaic brutalist aesthetic.

The interface language was built around strict spatial logic. Motion behaviour was confined to a grid-based system, with elements sliding along the XY axis and scaling across infinite parameters. This created a UI that felt otherworldly and highly advanced, yet inherently legible, allowing audiences to intuitively follow how information was structured, revealed, and controlled.

Visually, the design drew from Soviet-era instrumentation, industrial control panels, and Cold War infrastructure—power stations, mechanical command systems, and analogue interfaces. This translated into rigid grids, utilitarian typography, and a sense that everything was engineered with purpose rather than styled. The operating system needed to feel both incredibly advanced and physically grounded, heavy, cubic, and systemic.

The colour palette was predominantly anchored in red, with restrained accents of primary colours used sparingly to guide hierarchy and interaction. This restraint reinforced the tone: controlled, dangerous, and precise.

We also explored concepts for environments predominantly lit by LED video walls, designing graphics not just as screen content, but as integral components of the spatial language. This allowed the UI and the physical set design to merge into a single cohesive system, where light, surface, and interface became one unified visual experience.

The result was a system that felt intelligent, imposing, and deeply character-driven, an extension of Safin himself. One of those projects where concept, narrative, and design language aligned perfectly – loved this one

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Vincent were approached to design a series of moving posters that could be adapted to various large formats for airports across North America using the AT&T brand.

The ideas highlight the benefit of Edge-to-Edge Intelligence. From security to insights, we’ve found a visually interesting way to draw in the viewer and peak their curiosity to find out more about what AT&T can do for their business.

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The brief was to create a new kind of on-air brand that felt more hand drawn and tactile, that would celebrate the channels diverse

audience. Previewing over the Christmas period with a clean set of hand drawn animations, the rebrand launched in January 2017

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This is paired with a clean, contemporary visual language that reinforces Uber’s identity as a technology-driven platform. The design is intentionally minimal and precise, with refined typography, controlled motion, and a restrained palette that allows the narrative to unfold with clarity and focus. Every element is considered and purposeful, creating a polished, forward-looking aesthetic that feels both sophisticated and inherently digital – a visual expression of a brand built on innovation, efficiency, and continuous evolution.

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We headed up the project over a 13 month period, from pre-production through post production, creating all the bespoke framework designs and operating systems for the film’s characters and sets. Our designs populated over 300 screens within the film, across 23 scenes, playing out key storytelling moments.

John worked closely with director Sam Mendes who wanted all the screen graphics to play back live in-camera, so much of our work had to be designed and tested before shooting to ensure the graphics would not only compliment the set designs and camera set ups, but also work as fully interactive props.

We spent a great deal of time referencing the interception and collation of meta data used by today’s global tech giants and intelligence agencies, together with detailed research into the emerging field of nanotechnology. This information provided us with a good design rationale and credible premise to build upon when creating the technology for Oberhauser’s Lair, CNS and Q’s workshop.

To realise Q’s digital world of MI6 systems & 007 gadgets, we designed a bespoke modular operating system that would compliment Q’s prodigious mind. Contrasting this was the dark world of Oberhauser’s Lair, designed to monitor vast amounts of global news and data traffic. We designed these analytical graphics in rows to compliment the long lines of workstations, tailoring enough variety to populate all the 120+ monitors. Whilst working onset, alongside Chris McBride supervising playback, John continued to develop ideas and animations as and when Sam required, pushing the creative process further as the production evolved. Following production, we directed the additional post production work on over 80 screens, including all laptops and smart phones used throughout the film.

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#MooreToKnow is a joint initiative by the Bobby Moore Fund for Cancer Research UK and the England Footballers Foundation to raise awareness of bowel cancer, the UK’s second biggest cancer killer.

Vincent were proud to be asked to come on board to creatively direct and produce all the VFX on-air and off for this yearscampaign.

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We designed UI systems and screen content for both the bridge of the USCSS Prometheus and the RT Series Group Transport vehicles, creating a unified sc-fi UI language for navigation, analysis and various ship controls.

On the main ship bridge, the interface content was designer to cover planetary weather, entry windows, atmospheric diagnosis, satellite-level planet analysis, galactic navigation, planetary chemistry and toxicity, terrain mapping, ship navigation, engine controls, weapons, power monitoring, and crew health.  A comprehensive sc-fi bridge command environment that felt advanced and operationally credible.

The rover control screens were designed for practical field use, with interfaces focused on terrain HUDs, engine control and analysis, navigation, cabin pressure and air systems, door lock controls and weapons/armour. An ancillary colour palette was developed specifically for these peripheral vehicle systems, allowing them to remain visually connected to the core design language while clearly differentiating their functional role within the wider ecosystem.

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Typographic treatment with a figurative nod to DIY and craftwork.

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Syndicate game narrative film. Creative direction & animation. Vincent worked closely with the game developers and art directors at EA & Starbreeze in conceiving the overall styling and script writing of the in-game cinematics and trailers for the game.

SYNDICATE Dart 6 commercial

Our brief was to conceive a tongue in cheek futuristic commercial for the Dart 6 chip technology featured heavily in the game.We directed and produced a green screen shoot followed by 2D/3D post production and sound design

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