Empyrean Lost

Empyrean Lost by Ryder Ruilyn is a 3D linear animation about a boy who dreams of a lost love. Structured as a journey, the boy travels through surreal and uncanny dreamlands. Animated in a subtle pastel palette combined with special effects, the protagonist in Empyrean Lost learns to release his love and overcome heartbreak. As a narrative centered on a painful yet universal emotion, this animation speaks to the path we must all travel to rediscover personal harmony after a lost love.

  • Ryder Ruilyn
    Director
  • Ryder Ruilyn
    Writer
  • Ryder Ruilyn
    Producer
  • Project Title (Original Language):
    無明
  • Project Type:
    Animation, Short, Student
  • Runtime:
    4 minutes 30 seconds
  • Completion Date:
    May 2, 2017
  • Production Budget:
    1,000 USD
  • Country of Origin:
    United States
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    Yes
Director Biography - Ryder Ruilyn

Ryder Ruilyn is a motion graphics designer and visual artist from China currently residing in Brooklyn. In 2017, he received his MFA in Computer Art with a concentration in Motion Graphics from the School of Visual Art in New York City. Ryder has worked for numerous international clients on multimedia projects since 2009, including Alibaba, Taobao, McCANN Worldgroup Momentum, Nescafe, NFL, Subway and Airacer. His inventive approach to motion graphics design skillfully bridges traditional media with cutting edge mobile and digital technologies to communicate across multiple platforms and environments.

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Director Statement

Graphic design is dead. We no longer have the ability to visualize solutions with a design language that lacks the tools of the 21st century. It’s time for a revolution!

I first realized that traditional graphic design was out of step while watching online an augmented reality fashion show from Shanghai. The spectacle that unfolded on my laptop that day presented a new visual structure created from a fluid and transformative geometry of saturated colors within a real 3-dimensional space. All the design elements perfectly enhanced the event’s main theme and emotional content. As someone who had just graduated from a traditional graphic design college, I felt like I was being punched in the stomach. There, for the first time, I saw the infinite possibilities that could be delivered through the power of design. The fusion of creativity and technology enriched the originality of design to move my visual experience beyond anything I had seen before. That’s when I realized I had to make my graphic designs move.

Once I opened my mind to the different innovations that could reshape static design, I began to seek new disciplines for inspiration: science, technology and social discourse were all now open for exploration. In subsequent works such as Orpheus, I investigate contemporary social violence with the aid of a cutting-edge wearable device that monitors human brain waves. Another project, A Homosexual Culture Guide, combines multiple innovative technologies to provide support, awareness and resources for the often marginalized Chinese LGBTQ+ community.

I believe good design comes from solid logical thinking and spend weeks on research before commencing production. I have a strong logic system in my brain, which helps me to understand how design can most effectively serve my viewer. Using whatever means required— from understated to day-glo colors, elaborate to spare patterns, embellished to minimal fonts, or 2D animation to 3D interactivity—I always find the best way to release energy visually.