| Studio Voice December 2006 |
Nike Premium Performance |
| The American team “AGENCY:COLLECTIVE” in charge of the “NIKE SHOX SWIFT” shoe took a unique approach. Dividing “Running” into 4 stages - warm up, acceleration, peak and cool down - they created four distinct visual and sound stages, each with its own organic rhythm. With echoes of the static moving image as explored in Italian futurism and Marcel Duchamp’s Nude Descending a Staircase, their interests in the body’s movement and form in sport, and the newest technologies, AGENCY:COLLECTIVE’s visuals are fit to lead a new 21st century futurism. |
| Tokion December 2006 |
Agency:Collective + Nike |
| “AGENCY:COLLECTIVE” is a studio founded by Peter Cho, Lisa Prescott and Mike Jakab. Cho studied at MIT and UCLA; Prescott has worked with IDEO and Apple. And Jakab recently went on a Fulbright scholarship to Finland where he worked on a research project about narrative. They possess not only a strong academic background, but have a strong interest in the current progression of design. Through theory and practice, they are looking into the future at how new media will be applied. |
| Print March/April 2006 |
New Visual Artists Review |
| Elisabeth Prescott is a petite tornado, a hummingbird in Gucci eyeglasses with a soft voice and shy smile. Today, barely a year out of grad school—her MFA is from Yale—she’s already made motion graphics seen by millions: spots for MTV, Panasonic, Philips, Gap, DirecTV, and many others. Yet to scrunch Prescott within the tight confines of animated art is to deny an entirely different side of her, for she has akeen interest in computer science, human behavior, and the graphic applications of learning theory. |
| Print March/April 2005 |
New Visual Artists Review |
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Michael Jakab’s work is notable for conveying complex and detailed information simply. He, too, can be described simply. Jakab is smart. Jakab is nice.
When he applied to Yale, he already had what many would consider a flourishing career. As an undergraduate at the Minneapolis College of Art and Design, he had worked full-time for VH1 and Imaginary Forces. These jobs resulted in some high-profile projects including a music video for the Black Eyed Peas, opening credits for The Mummy Returns, VH1 promos, and billboards for Nike Japan. Questioned by the Yale admissions team about why he wanted to go back to school when he was already successful, he answered, “I don’t think this is success.” |
| RES March/April 2005 |
Ones to Watch |
| Michael Jakab’s work is bold and playful, with a strong graphic sensibility. His cross-disciplinary skills are commendable in films such as Carter, a clever, single point-of-view film about a telemarketer shot from the perspective of his computer, and such design work as Visual Time, a functional digital typeface for cell phones that he reconfigured into a cool graphic element for a poster. |
| Design Observer July 2005 |
New Models for Design Efficiency: Introducing Otto |
| Otto, short for automatic, is the result of a collaboration between a small group of editors, programmers and graphic designers (all of them graduate students at Yale) who designed this year’s issue of Palimpsest, the School of Art’s literary magazine, essentially by proxy. In spite of its occasional gestures of stylistic clumsiness, this experimental publication suggests fascinating new opportunities for editorial collaboration, and engages the role of computation in an entirely new way. |
| Type Directors Club 2006 |
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| Deviation Through Narrative received a Certificate of Typographic Excellence in TDC52 for outstanding typography. |
