Art + Design + Interactive Art & Branding + Film + Installations & everything in between. Explorations in creativity for my thesis in Interactive Art.
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I'm a graphic designer currently attending a doctor degree in Interactive Art in the field of Brand Design. This blog reflects the research I'm doing for my thesis and all the creative things that inspire me. Engage with it!
Delightful Paper Pop-Ups by Jenny Chen
Portland-based designer and art director Mengyu Chen is currently working on a new comic book and has mocked up some experimental pop-ups of her own design. The ideas and execution are really quite spectacular and I can’t wait to see the finished product. (via tuh dah) (via Delightful Paper Pop-Ups by Jenny Chen | Colossal)
(via magazinspiration)
The Most Immersive Movie Experience EVER — Making Of Version
PS3 Immersive Movie Experience. Shot in one take : All in real-time : No post production.
Part 3
PS3 Immersive Movie Experience. Shot in one take : All in real-time : No post production.
Part 2
PS3 Immersive Movie Experience. Shot in one take : All in real-time : No post production.
Part 1
Generative Identity for the EPFL Alumni
Brand New Conference 2012
“About the Conference Identity
If we were to give the identity a title it would be “The Brand Debris Quilt.” Through a rather strange path of concepting that started with wanting to create an identity that poked fun at a few trends in logo and identity design — Gotham! Overlays! Patterns! — we arrived at a variation and combination of these three trends that we felt wasn’t totally gratuitous. Self-indulgent? Yes. (One of the benefits of being our own clients). But not totally gratuitous.”
Bansky, Brandalism
The sale last fall of an Andy Warhol silkscreen for a record $43 million got us thinking. What are the values of many of the brands that Andy Warhol painted, and could we find a case of brand that he painted that was valued less than the actual sale price for an individual painting. Are there cases where the representations of the brands that Andy Warhol used are more valuable than the actual brands themselves? That’s a true post-modern notion.
The highest price for a Warhol is Green Car Crash, at $70 million. That’s considerably more than a minor brand would sell for, but Warhol usually painted the major brands, mostly.
Warhol, of course, knew and loved American brand names as a representation of American culture, and featured them in that seminal show, The American Supermarket.
Warhol’s most favorite brands, including Campbell’s, have never been for sale, and the company has a market cap in the billions. Ditto with Coca-Cola, which figured in another work. He picked well.
One brand that might fit is Brillo. Church & Dwight purchased a portfolio of brands that included Brillo for $30 million from Dial. This brand portfolio included Parsons Ammonia, Bo-Peep Ammonia and Cameo Metal Polish, though we guess Brillo was the prize. Brillo boxes have sold for considerably less, and many had questionable provenance. Perhaps there are others out there.
A related thought popped up, which related to Warhol’s curatorial eye. Namely, what were the brands associated with Warhol and how are they doing? Warhol obviously had an eye for what was valuable brand-wise, in culture, and a list of those brands might be instructive.
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by Garland Pollard
Andy Warhol and Brands
http://www.brandlandusa.com/2010/01/06/andy-warhol-and-brands/
New visual identity for Pigmentpol by FELD and ATMO
“In collaboration with ATMO design studio, Berlin based studio FELD created a new visual identity for Pigmentpol, a digital printing company in Germany. The new identity system uses Processing to generate a custom logo for the variety of Pigmentpol corporate media, including personalized stationery, shop interior and vehicles.
The hexagon functions as a key object for the geometry, within which additional intersections can be arranged. Following a chosen color scheme, every segment is colorized and all intersections are highlighted. Before exporting the graphic as a PDF file, the ability to scale and crop to a desired area is given and finally the generated graphics can be further processed or simply used within the regular layout process.”
