Interview by: Jarrett Kertesz

James Widegren has done quite a lot in a short amount of time. In addition to creating the seminal design news site, Threeoh and the May First Reboot, he’s also won numerous awards for his commercial interactive work. Recently, he has contributed to a new book entitled, Photoshop Face to Face, published by Friends of Ed. He’s now the creative force behind his own studio, Idiocase where he has created some very stunning collaborative motion design pieces.

Can you give us a little history on Idiocase?

I started IDIOCASE as a substitute to my past employment with Vir2L (www.vir2l.com). I had freelanced before as THREE.OH, and remembered the enjoyment of freedom. Through various contacts I entered the land of freelance with loads of work, and have done that for a little more than a year now with great success. I’ve shared office space with my friend Jens Karlsson who runs his own freelance studio CHAPTER THREE (www.chapter3.net). And we have collaborated on several projects such as General Motors Japan, Computer Arts Special and Sony Web Motion 2001. Our minds alike set a bright future and we will eventually setup a company together including people we enjoy working with.

How do your illustrations inform your more commercial graphic work?

I’ve been pretty lucky on that side. Mostly the client wants to convey a very abstract concept, which for instance could be an executed command or invisible technology and how it works in detail when interacted with. I visualize the process of these events using both abstract and concrete illustrations.

Your work is very tech-driven, visually. Do you ever see yourself exploring more organic or softer design methods and forms?

Sometimes but it isn’t in the direction where I’m heading, which is towards realism and special effects. I do enjoy it but have other preferences.

In your work for GM, what were you looking to accomplish conceptually and were you happy with the results? Very nice BTW (See figure 01).

The brief was to illustrate what their new entertainment and systematic features are, and how they work with a technological approach. Me, and Jens Karlsson with whom I collaborated wanted to show how each technology interacts with the driver and all his/her senses. We translated the technology to light (abstract), which traveled either to, from or through each sense combined with live footage.

What are some of your influences in motion design or film?

I love light, but hate it when I’m working. I mostly enjoy visual effects where Digital Domain (www.digitaldomain.com) and UV (www.uv.tv) are at the top of my influential list.

How has photography had an influence in the way you work and give form to design? I’ve noticed you’re featured in a new book by Friends of Ed, which features photos you’ve taken that have been manipulated in Photoshop (See figure 01).

Of course, I’ve been doing a lot of photography and film in the past, and still do from time to time. I gained experience in composition and image perception etc. with photography and film, and always refer to it when designing.

Ok, last question. Has collaboration changed the way you look at a project?

More heads are usually better than one, unless they interfere in taste.

Thanks much James+

Idiocase
Threeoh