An idea for a series of page adverts for ‘Nike Air’ illustrating different models of the air max series using only holes. The adverts play off the idea that they are only created out of air, directly reflecting the iconic design of the ‘air max’ itself. Being able to see through the advert from both sides of the page also reflects the revolutionary design of the visible see-through air bubble, introduced by Nike in the ‘air max 87’.
This brief is a redesign project that asked us to find something that needs improvement. I thought about postage stamps and how people lick the back of the stamps. The act of licking stamps, is loved by some and disgusts others. Even though nowadays there are sticker stamps, those old-fashioned lickable stamps will never die. So if we have to lick it anyway why not make it tasty so we can all be happier. I designed a set of stamps called Chocolate Mail, which comes in 3 flavours - dark, milk and white chocolate. They are a set of 24 1st class stamps that are designed to look like a bar of chocolate, packaged as an envelope.
Beneath is an outdoor interactive installation inspired by the underwater world. The visual interaction creates experiences of being in the underwater world. It allows audiences to explore undiscovered territories and experience the unique visual expression of natural elements. The invisible natural world becomes visible and accessible in an “unusual” real-space. Beneath consists of a series of 5 visual elements: ‘Water Ray’, ‘Turbulence’, ‘Dropping Star’, ‘Water Cloud’ and ‘Flying Jellyfish’. The visual elements express the energy, living conditions and living organisms of the underwater world. It embraces communication in a silent world through gestures of interaction and abstraction using computer technology and motion tracking.
˙ǝpoɔ ǝɔɹnos ןɯʇɥ s,ǝƃɐd sıɥʇ ƃuıʍǝıʌ ʎq ɹoʇɐɹǝuǝƃ ʇxǝʇ uʍop ǝpısdn sıɥʇ puıɥǝq ƃuıddɐɯ ɹǝʇʇǝן ǝɥʇ uɹɐǝן uɐɔ noʎ ˙ʇxǝʇ pǝddıןɟ ǝɥʇ ʎɐןdsıp oʇ „sɯ ǝpoɔıun ןɐıɹɐ„ ʇuoɟ ǝɥʇ sǝsn ǝƃɐd sıɥʇ ˙ʎןuo sɹǝʇʇǝן ǝsɐɔɹǝʍoן sʇɹoddns ןooʇ sıɥʇ os ’sɹǝʇʇǝן ןɐʇıdɐɔ uʍop ǝpısdn ɥƃnouǝ ʇou puɐ sɹǝqɯnu uʍop ǝpısdn ou ǝɹɐ ǝɹǝɥʇ ʎןǝʇɐunʇɹoɟun ˙„ʇǝqɐɥdןɐ ɔıʇǝuoɥd ןɐuoıʇɐuɹǝʇuı„ puɐ „pǝpuǝʇxǝ uıʇɐן„ sʇǝs ɹǝʇɔɐɹɐɥɔ ǝɥʇ ɯoɹɟ ǝɯoɔ ɯǝɥʇ ɟo ʇsoɯ ˙ɹǝʇndɯoɔ ǝɥʇ uo ʇxǝʇ uʍop-ǝpısdn pǝʇɐǝɹɔ ǝʌ,noʎ ǝʞıן ʞooן ʇı ǝʞɐɯ oʇ ‘pǝʇɹǝʌuı ʞooן ʇɐɥʇ sןoqɯʎs puɐ sɹǝʇɔɐɹɐɥɔ ǝpoɔıun oʇ sɹǝʇʇǝן ɥsıןƃuǝ sʇɹǝʌuoɔ ɯɐɹƃoɹd ʇdıɹɔsɐʌɐɾ ǝɥʇ ¿pɹɐʍʞɔɐq puɐ uʍop ǝpıs dn ʇxǝʇ dıןɟ ןooʇ sıɥʇ sǝop ʍoɥ
Since its conception in 2000 DDD has immatured into a jocuserious fanzine-journal-orphanage based on true stories deeply concerned with art-design-music-language-literature-architecture and uptight optipessimistic stoppy/revelatory ghostwriting by friendly spirits mapping b-sides and out-takes pushing for a resolution in bleak midwinter through late summer with local and general aesthetics wound on an ever tightening coil.
For more information check:
http://www.cinema.philips.com
http://www.stinkdigital.tv/
CAROUSEL, A short film
Created entirely by Stink Digital, this new interactive campaign promotes Philips latest entrant into the television market, the CINEMA 21:9. Since the televisions 21:9 frame lends itself so readily to film, our friends at Tribal DDB, Amsterdam commissioned us to create a piece of filmed content that could hold its own with Hollywoods best. Director Adam Berg responded with an idea for an epic frozen moment cops and robbers shootout sequence that included clowns, explosions, a decimated hospital, and plenty of broken glass and bullet casings.
This epic film is the centrepiece of the project. On its own, it clocks in at a (totally coincidental) two minutes and 19 seconds, but Berg conceived it to work as an endless loop. Visitors to the microsite therefore have the option to spin through the films single take shot repeatedly, to stop on a specific frame, or to watch it at the preordained speed. The film also contains embedded hotspots, which, when triggered, transport the viewer seamlessly from the heavily posted film to a behind-the-scenes version of the same shot. This constant moving between two layers of reality proved one of the projects biggest and most ambitious production challenges. Other details of the online execution play off the cinematic theme; the microsites loader doubles as a credit sequence, while rich media takeover banners drive traffic to the site by teasing viewers with an original Carousel trailer. All aspects of the production, from the film shoot to web design and development, were conducted by Stink Digital.
New York 2008 from Vicente Sahuc on Vimeo.
Vicente Sahuc filmed the above video recently in New York City while roller skating with his inexpensive casio camera. The camera was mounted on a steadicam that was shooting at 300 fps. After color correcting it himself he reduced the frame rate to 24 frames per second to create the slow motion effect. The result is pretty incredible considering the home-made setup. Expect to see more of this kind of thing in the future as video technology gets better and even more affordable.
I can’t wait until people start shooting quality full length movies. I say do it yourself. Hollywood has got to be sweating. I think very soon the internet will have them on the run.
via
Challenged by Nike to reinterpret and be inspired by an all-white Nike Dunk basketball shoe, 25 Japanese artists are featured in this exhibition of innovative new sculpture, drawing, and multi-media installation. The participating artists, a diverse group of Japan’s finest animators, illustrators, toy makers, graphic designers, model creators, comic writers, figure artists, craftspersons and sculptors, were selected for sensibilities that they share with Nike: a passion for design and technology; a desire to imagine the future; and an incessant drive for the cutting edge. The unique artworks of this exhibition incorporate an iconic object from the world of sport, the Nike Dunk basketball shoe, into a DJ-like sampling of Japanese animation, youth culture, fantasy, and visionary futuristic form. The resulting exhibition provides an examination at the intersection of the increasingly fluid relationship between cultural practitioner and creative capital.
Participating artists include Kenji Ando, Yukio Fujioka, Jun Goshima, Hideaki Hirata, Atsushi Kamijyo And Masanao Amano, Masakazu Katsura, Eisaku Kito, Eiji Nakayama, Yasushi Nirasawa, Yuji Oniki, Ren Sakurai, Keiichi Sato, Naoki Sato, Hajime Sorayama, Haruo Suekichi, Yukihiro Suzuki, Takayuki Takeya, Junichi Taniguchi, Katsuya Terada, Yasuhito Udagawa, Shinichi Yamashita,Yoshikazu Yasuhiko, Kow Yokoyama,Hitoshi Yoneda, and Shuji Yonezawa
http://www.whitedunk.com/
http://www.thefashionspot.com/forums/f48/nike-white-dunk-expo-1285.html
My daughters first website..
Drawn, unprompted, in crayon, on some old yellow paper. I was so proud, I made it work…
BEIJING — “Ma,” a Chinese character for horse, is the 13th most common family name in China, shared by nearly 17 million people. That can cause no end of confusion when Mas get together, especially if those Mas also share the same given name, as many Chinese do.
Ma Cheng’s book-loving grandfather came up with an elegant solution to this common problem. Twenty-six years ago, when his granddaughter was born, he combed through his library of Chinese dictionaries and lighted upon a character pronounced “cheng.” Cheng, which means galloping steeds, looks just like the character for horse, except that it is condensed and written three times in a row.
The character is so rare that once people see it, Miss Ma said, they tend to remember both her and her name. That is one reason she likes it so much.
That is also why the government wants her to change it.
For Ma Cheng and millions of others, Chinese parents’ desire to give their children a spark of individuality is colliding head-on with the Chinese bureaucracy’s desire for order. Seeking to modernize its vast database on China’s 1.3 billion citizens, the government’s Public Security Bureau has been replacing the handwritten identity card that every Chinese must carry with a computer-readable one, complete with color photos and embedded microchips. The new cards are harder to forge and can be scanned at places like airports where security is a priority. http://www.nytimes.com/2009/04/21/world/asia/21china.html?_r=1
APPENZELL, Switzerland — The Swiss like their secrecy, particularly in banking. At other times, they are more open. Take hiking.
In recent years, it has become fashionable for a growing number of Swiss and some foreigners to wander in the Alps clad in little more than hiking shoes and sun screen. Last summer, the number of nude hikers increased to such an extent that the hills often seemed alive with the sound of everything but the swish of trousers.
http://www.nytimes.com/2009/03/17/world/europe/17swiss.html?_r=1
