The project had been developed during the last two month. The name of the tab + font logo + web page + printed advertising items.

Done!

keener.se

Следующая маска по мотивам двадцати Солнечных Печатей Маянского календаря.

Синяя Буря: Самопорождение. Энергизация. Ускорение процессов.

Customer: Sveta ArtPoint

Photographer: Katya Pahomova, Igor Tcarukov
Model: Katya Pahomova

I  have always been interested in eco technologies and lifestyle. Therefore I was excited to create a logo of a new product, made in Netherlands. The company focuses on developing wind turbines of next generation.

The working process was complicated and extended, as such kind of  market has It’s own rules. I had been working for a couple of weeks, before we found it, and the logo was accepted. Here are some options:

Thanks for reading, more soon.

Photographer: Sveta Sheleg
Model: Uliana Zu Stavi

My lace mask was shoot by photographer Sveta Sheleg located in Tel Aviv.  If I had known that we both would be so happy with the result of our collaboration, I would have been ready with more masks and entrusted her with them. Always work in advance as you never know what future has in store. Hope I’ve got a chance to cooperate with such a talented  budding photographer again.

В календаре Майя представлено двадцать священных символов - Двадцать Солнечных Печатей. Каждый из них описывает определенный этап развития нашего сознания и обладает одним из четырех цветов: красным, белым, желтым или синим…

Не уверена, как скоро мне удастся сотворить маски оставшихся девятнадцати Печатей, но Белый Волшебник был готов еще летом, к празднованию Дня Вне Времени.

Customer: Sveta ArtPoint
Model: Sophie

Эпоха соломенных крыш и деревянных баров-шалашей миновала. С тех пор, как появился Марс, а следом возвели Марсаль, облик Республики заметно изменился. Новый образ сформирован бионическими формами и масштабными металлоконструкциями, окутанными белоснежным полотном днем и лучами цветных прожекторов ночью.

Грядет двадцатилетие фестиваля. Любопытно. В предвкушении.

Memories about Dutch fresh rains, salt waves and tulips are still  in my head.  I hasten to give them shape in order to live out everything again. That is what my new Tulamp about.

Porcelain head by codacoi

Madame Peripetie’s Bird series for Tata Christiane

Masks from jojikojima.com

Masks by Stephen Jones:

Известно, чем бы закончились мои эксперименты с этой фотографией, если бы не выручила Вероника Чайка:  никто бы новую маску на сайте не увидел. За помощь я художницу благодарю!

Нас обеих не покинула надежда обыграть картинку, и вот к чему это привело:

Несколько дней назад пришлось написать сочинение в духе школьных на тему “Design for the real world”:

I suppose, that traditionally Design of a product or an area for the real world is formed under the influence of such factors as ergonomics, functionality, attractive shape and texture and optimization of manufacturing resources. Also an ecological aspect is becoming more and more important today. Personally, I think that the term “ergonomics” is sometimes too general and therefore I would like to suggest extending the term calling it “intellectual” or “mental” ergonomics. I would like to present my vision of the above mentioned factors and discuss them in detail.

Ergonomics. Different kinds of information around us are growing every day and such expression as “overabundance of information” appears. Not everybody is able to organize, assimilate and filter it quickly. Subconsciously or consciously people are longing for simplicity and are surrounding themselves with high-quality products, which are easy and convenient to use, being time- and effort-saving. Filling the object of Design (a computer device, a building, a program etc.) with a variety of functions is not a comprehensive solution for today. It is really important not to overload a user and not to cross the line, when the interaction with the product is complicated, long and tricky. A person and their mental and physical abilities should always remain the main measure for Design. That is why I suppose, that the term of ergonomic in the XXI century is not only the construction of a product in accordance with a human’s proportions and size. I believe it is the high time for the so-called “intellectual” or “emotional” ergonomics, focused on designing a product according to human mental and emotional abilities. I think, that there is a limit to informational volume in a product or space, when it is convenient to use. Adding a new function is only possible by replacing a temporary or outdated function of the product or by combining several functions in one complete action.

Today people aim at gaining simplicity and comfort and prefer not to be distracted by the product while working and not to spend much time on studying the manual. However it does not mean, that it is not necessary to experiment with the shape and texture of a product, interface or space. But together with this modern Design should not contradict with the idea of a product or distract from its gist. I think, it should be neutral before the user will pay attention to it. But when the user takes a look at the image and shape of the product, it should be attractive, arousing pleasant emotions and memories, rather than protest or discomfort.

Functionality. While creating a new product, building or interior, its function should always predetermine the shape. Definitely, when it comes to luxury goods, the way they look may come to the foreground, deposing its primary function. Sometimes commercially successful design products are made from materials, which contradict primary function of a product. A good example for this are tables and chairs originally meant to be stable, static and reliable, but produced from transparent and at first sight fragile materials, which imitate glass, laces, movement… There is some part of humour and a game here.

The approach, when the shape, texture and image of the product become the main function is not suitable for each category of expensive products. Let us compare a chandelier and a juicer. Various experiments with shape and decor of the first article are possible, without changing its primary function – to light. The number of user’s actions, necessary to make it work is minimal: to switch on the light. If we analyze the juicer everything is different. Its Design and aesthetic image will never become the main function. And one of the main reasons, I suppose, - is a higher amount of the user’s actions, necessary to make juice.

Eco-idea. Today it is appreciated, when a product is made from ecologically-friendly materials with minimal costs of energy and sources, easy to recycle etc. Nowadays making a product from eco-friendly materials is not enough to ensure its wide use. It should be functional and easy to use as its product-predecessor. Today people start to realize the importance of taking care of the environment, developing new eco-technologies and life style with minimal damage to our planet. And the society wants to live in a different way. But only few are ready to spent their time and efforts on changing habitual daily routines. Therefore, one of the main tasks of a modern Designer is to develop design of a product or an area, which would become part of an eco-lifestyle quickly and easily, without changing the habitual lifestyle. Design may appear to be a reliable instrument on the way to eco-life.

Source (raw, energy, time, space, costs) optimization and saving. Saving customer’s sources by optimizing materials, energy, waste, time or space consumption is one of the main tasks for a Designer. I also believe, that good Design may reduce the amount of actions in the process of the product exploitation minimizing the user’s time and efforts. Ideally a good Design can influence some activities and areas related to the product, sometimes even eliminating the need of excessive actions.

High sales and the widespread use of a product, with minimal investment in advertising – are reliable indicators of high quality of its Design. If a product is irreplaceable for customers, it works. People apply and appeal to such ideas and creations for years as they are real masterpieces which are eternal.

LT

Anna Dello Russo by Tommy Ton

Source: style.com

Vogue:

Ribbed Nagazine:

Amato Haute Couture:

Tyler William Parker:

Dazed&Confused:

Cleon Manz photography:

Maison Mitchel:

Vogue Paris:

Intermediate stages and final result

www.jsmithesquire.com :

Sandra Backlund:

Vogue Italia:

Charlie Le Mindu:

Flair Magazine:

Photographer Mark Pillai:

Numero:

Vogue Germany:

Images: Tommy Ton and Maison Mitchel 2011