Being done with the courses and the PhD – O.K. more dropped out than finished – I prepared for the assignments, and these are my results.
I would love to read any comment about them and, obviously, I’ll let anyone reading through my little window what happened eventually. On the overall it ended up being a lot of fun, support and stress. Something really nice to think of anyway.
Berätta med visuella medel om en avgörande upplevelse i ditt liv.
Talk with visual media about a decisive experience in your life.
From the early consumer focus on trivial fashion and beauty tips; my horizons were increasingly broadened and opened up to a whole new and exciting world to discover, to reflect on. A runaway from the close-mindedness and lack of criticism common in the small town I grew up. The evolution of the seasonal pattern in such a fast-changing globalized market, the hidden message underlying clothing, the internalized meaning and associations of brands in dreamers minds, the tradeoff between creativity and business, the link with art, its interaction with reality, better said, the economic, social and historical context we are all embedded into. From mere models, campaigns and clothing to cover the body with, to artists like designers or photographers, meaningful icons, art, communication and interaction. Such constrained crystallization of art and communication, where the design process is built upon brought me here.
I do not feel this trip to be done yet and being honest, I do not want that either.
Formge affisch och vernissagekort till Andy Warholutställningen “Andra röster, andra rum” på Moderna Museet.Affischens format ska vara A2 som viks en gång så att det går in på A3.
Design a poster and a flyer for the Andy Warhol exposition Other voices, Other rooms at Moderna Museet. The poster format needs to be A2 so it folds and goes into A3
The show was named after a parallelism between “the quest for identity in „other rooms and voices‟ – a novel by Truman Capote – that is fundamental in Warhol‟s life” and focuses on his versatile evolution, from drawer to painter, from art director to businessman. The flyer is therefore a double-sided communication-sword, to be understood by the mass as well as call the attention of more trained eyes.
The Campbells‟ Can is plenty of recognizable cues, instantly associated with Warhol so the mass-public will instantly get the message. However the message on the back, as well as the substitution of tomato soup by open up mainly link with what this specific exposition deals with.
On one hand, it is suggested to open up, to go beyond the can and look or reflect on what is inside – silver-colored metal usually covers the inner of cans – because Warhol’s oeuvre was overall multifaceted, evolutionary and meant far more than soup.
On the other, open up, beyond can and silver inside convey a deeper message, an elevated wink for those keener on modern art which is related to what The Factory – where a vast extent of the exhibition is centered – meant. Silver walls delimitating that area where anything was possible, where varied souls and stories converged attracted by the magnetic charm of Warhol, trying to materialize their dreams, to go beyond what they were told to be able to – or could (can). Diversity became inspiration for that passive voyeur as well as some broken dreams eventually turned against him, driving a evolution on his work. His work offers a lot to reflect on, especially when taking into consideration the curator’s – Eva Meyer-Hermann’s – description “…Warhol’s surfaces reflect the world…”
Ta fram namn och logotype för en ekologisk restaurang.
Design a name and a logotype for an ecologic restaurant
Payés is the Spanish term for those traditional, agriculture-focused regions in Catalonian and Balearic Islands where wheat crops whose shades go from green to yellow, had traditionally grown slowly and naturally under the sun.
Catalonia is a primary holiday destination among the Swedish, where the restaurant is intended to be placed. Therefore, the name has been slightly modified to maximize the connotations conveyed by på when eating – the first thing popping up to mind, på bordet. The second half is far more international, an energetic yes! to the good life, tastier food, mens sana in corpore sano.
Catchy, differentiated, recognizable, short and, easy to remember. To increase the association trigger on the average customer’s mind, the restaurant logotype has been chosen as a typographical one. Name recall is facilitated so that it comes in top of mind when, in the surge of board reservation, sources like eniro gula-sidorna or the web are consulted.
Two different typographies have been combined with three hues from the wheat color scale. The sans-serif font signals a modern manner of sitting to a table, innovation when time comes to eat, a fresh, better way of being på bordet. In contrast, a more traditional, font with serifs comes in bold and italics as an emphasized, spirited assertion of what truly matters – and has always been important with food being at the basis of Maslow’s Pyramid, regardless of social trends or history.
Yellow signals the sunlight, the joie de vivre and warmth intrinsically associated with Spain, under which amazingly tasty and natural food is cultivated Green, as sign of nature, growth, renewal, and health is used all over the logo. A lighter, brighter one to enhance newness while the more obscure leaves relevance to form and the final exclamation on the second part.
Ilustrate the book the heartbreaking art with amazing geniality with three pictures in a free manner.
As visual parallelism, any heartbreaking creativity or idea, i, will result from accumulated knowledge and experiences. In this assumption, previous artworks became metaphorical pigments in the early days evolving into pixels on this modern era that the artist can combine to create something new.
My mother lacks the sense of smelling, she is a great chef though. Does the lack of a sense disable a person from art? Shouldn’t amazingly creative heartbreaking works arouse more than the eye? Why do artists continue to be so limited when communicating with humans that can identify a larger array of stimuli? Setting the focus on cue translation, from shape to smell, from color to flavor, might enable artists to truly pop up the envelope of communication and open up to significant newness.
This is personal tribute to the recently disappeared – on May, 12th – Robert Rauschenberg. His smile, while relating performances, first Swedish experiences – being one of the 4 Americans show in Moderna Museet, 1962 – comes to mind when wondering about extreme versatility, geniality and heartbreaking creativity. Freedom and joy might simply be the key for ground-breaking art.