RAINBOW — JOYFUL VERSION Light · Playful · Optimistic The first interpretation turns Rainbow into its most cheerful and immediately accessible version. Musically, the arrangement is bright, melodic and highly uplifting. It has the directness and emotional openness of a large pop production — almost a Eurovision-style quality — with an easy, memorable energy that invites the listener to join in rather than simply observe. Even the playful “la la la” opening immediately establishes that this version is not intended to carry the weight of the lyrics in a dark or dramatic way. The music reframes the underlying story as something already transformed: the pain exists in the text, but the emotional destination is joy. That principle determined the entire visual direction. Instead of illustrating pain literally, the artwork presents a deliberately naïve, childlike world: a flourishing tree, visible roots, flowers, sunshine, hearts and a large rainbow. The aesthetic resembles a drawing made with crayons or coloured pencils. It communicates optimism without requiring explanation. The world appears uncomplicated, alive and full of possibility. The tree is important symbolically. Above ground, it is colourful, flourishing and visible. Beneath it, an extensive network of roots remains hidden. That visual structure mirrors the lyrical idea that growth can begin long before anybody else is able to see it. The typography intentionally breaks with polished corporate design. “Rainbow” appears in a handwriting typeface based on the ruled lines children use when first learning to write. It is positioned slightly imperfectly rather than mechanically centred, reinforcing the feeling that somebody has actually written the title onto the picture by hand. The dark handwritten lettering connects visually with the tree trunk and roots and remains clearly readable without adding another colour to an already colourful composition. The subtitles continue this playful logic, but in a cleaner form. Large, simple uppercase lettering keeps the lyrics easy to read, while the currently sung word changes to yellow. This creates a gentle karaoke-like progression which fits the participatory nature of the music. Rather than competing with the illustration, the subtitles add movement to an otherwise static image. The result is intentionally uncomplicated and joyful. The message is serious. The interpretation does not have to be.

RAINBOW — POP HOUSE VERSION Explosive · Colourful · Energetic The second interpretation takes exactly the same lyrics and pushes them in the opposite visual direction. Here, the music is much more explosive. The production has the immediacy and momentum of Pop House: larger dynamics, more forward energy and a sense of release. Rather than presenting transformation as quiet growth, this version treats it as an eruption of energy. The visual concept therefore begins with an explosion. A bright central burst expands outward into colour, particles, light and a large rainbow. The composition deliberately feels excessive. It is energetic, almost cosmic — as though the transformation described in the lyrics has become too large to remain contained. The rainbow is no longer simply a peaceful object in the sky. It becomes part of the explosion itself. That distinction matters. The first artwork says: something beautiful has grown.
The second says: something has broken through. The title treatment reflects that change completely. Instead of handwriting, RAINBOW is set in large, heavy uppercase typography. The letters are widely spaced, giving the word the visual presence of a music release or event title rather than an illustration caption. The solid black type creates an important counterweight to the highly saturated background. Adding further gradients, rainbow colouring or decorative effects to the letters would weaken the composition; the restraint of the typography allows the artwork itself to explode. The word sits toward the lower part of the frame, deliberately leaving the central burst visible. This creates a visual hierarchy: first the explosion, then the title. The subtitles also become part of the rhythm. Rather than displaying complete lines passively, the words gradually build across the upper part of the screen. Particularly with vocal fragments such as “DA DA DA…”, the text itself starts behaving almost like another percussive element. The viewer does not simply read the lyrics — the appearance of the words follows the musical energy. A strong white typeface with dark edging keeps those subtitles legible against a background that is constantly full of colour and visual information. Importantly, we avoided adding another coloured box behind them. The artwork already contains rainbow colours, pink, yellow, turquoise, stars and an explosion. Another graphic layer would have crossed the line from energetic into visually overloaded. This version therefore uses a simple principle: When the sound gets louder, the design can become bolder — but it still needs hierarchy.

RAINBOW — DEEP / UNDERGROUND VERSION Earthy · Hypnotic · Reduced The third interpretation changes the perspective again. This version was conceived as the deepest and most club-oriented treatment of Rainbow. The emphasis moves away from pop performance and towards groove, repetition, bass and atmosphere. The music is designed to feel less like a singer standing in front of an audience and more like a track existing inside a club environment. The vocal therefore becomes only one element within a larger sonic space. The music is intended to lead; the words can be discovered within it. That idea directly informed the artwork. Instead of an explosion or an already mature tree, we see a single new plant emerging from dark soil. It connects almost literally with one of the central ideas in the lyrics: “Every wound became a seed.” But more importantly, it reflects the character of the music itself. The visual centre is low to the ground. Dark earth fills much of the foreground. The colours are warmer and more restrained. The new plant is small rather than spectacular. Above it is light, distance and the rainbow. That makes this version simultaneously the most minimal and perhaps the most conceptually direct of the three. The first artwork shows what has already grown. The second shows the moment of energetic breakthrough. The third shows where everything begins. And because the music is deeper and more underground, the earth itself becomes part of the aesthetic language. The visual does not need glitter, dancing figures or club imagery to communicate “deep”. The soil, darkness, low perspective and small point of emerging life already provide that feeling in a much more sophisticated way. The typography follows the same restraint. Instead of a bold music-title treatment, “Rainbow” is written in a light, elegant typeface and gently curved to follow the arc of the rainbow itself. The warm cream/champagne tone was selected instead of pure white so that the lettering absorbs some of the warmth of the sunrise and feels integrated into the photograph rather than applied on top of it. The title almost becomes part of the sky. The subtitles are deliberately different from the other two versions as well. There is no energetic word-by-word karaoke treatment. Complete phrases appear simply and relatively small. That decision is intentional. In this version, the listener is supposed to listen and move first. Reading is secondary. Large animated lyrics would pull attention away from the bass and transform the piece back into a conventional vocal video. By keeping them unobtrusive, somebody who wants to follow the text can still do so, while somebody experiencing the track primarily as music is not constantly being directed toward the words. That is also why the typography does not attempt to compete with the picture. The design behaves exactly like the vocal: present, but not dominant.