Category: Business


The future is here. The future is now.

http://m.1mpics.com/en/Article/Welcome-to-the-flying-car

The Terrafugia is real. http://www.terrafugia.com

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Watch the Terrafugia Transition in action:
http://youtu.be/KSpvw5PbMj8

Production is not due to start til at least 2015/2016. But remember those little space modules you saw on Star Wars, Star Trek, etc…

imagePhoto from Google images.

…well, there may well be one coming to a store near you sooner than you think!

imageTerrafugia’s TF-XTM is the company’s next project, currently in prototype stage.

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First, allow me to tease you.

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OK now wipe the drool off your chin.

YANKO DESIGN

What is Yanko Design? (Excerpt from their website):

Yanko Design is a web magazine dedicated to introducing the best modern international design, covering from industrial design, concepts, technology, interior design, architecture, exhibition and fashion. It’s about the cutting edge and the classic, the new and the rediscovered. It’s all about the best.
Yanko Design reaches a rapidly expanding audience of approximately 1.8 million unique users, serving 6 million page views each month with 41,000+ total daily newsletter subscribers making it the world’s most popular & influential online design magazine.
Yanko Design is on the list of Technorati.com’s top 100 most read blogs on the internet, currently ranked at 94 (out of 75,000,000+ blogs).
Media Coverage
Yanko Design has been featured in numerous high profile media outlets as the forefront publication in industrial design. In addition, we are esteemed media partners of red dot and iF International Forum Design.

Yanko Design likes to titillate the public by serving up non-existent objects of desire. Or things that exist only in the imagination or on computer. Oh, but the designs are all droolworthy, every geek’s wet dream come true, sleek and futuristic or just darn goodlooking and innovative…one can’t help wishing these inventions were real.

Well, the good news is, Some of the inventions Are real. Yes, Yanko Design has an online store where you can purchase gadgets that have made the leap from the drawing board CAD programme concept to real life. The store is called CKIE. Run, don’t walk!

And, if you need more motivation, look here:

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(All images courtesy of Google Images)

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Yesterday, I posted about MOO’s Printfinity services here. Today, I’m simply showing off the cards I created on MOO, which arrived last week.

I had 100 standard, matte business cards made up. And also 100 mini cards. Here are the boxes they came in side by side; the business cards are in the black cardboard box, the mini cards in the white box.

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Here are the business cards:

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Close-up of front and back of business card:
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And here are the mini cards:
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Close-up:
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The card stock is of good quality. Colours are crisp and accurate. The presentation boxes are of high quality too. All in all, using MOO’s services was easy, fuss-free, efficient and great value for money.

I’m very pleased with my MOO cards! :)

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MOO is an English company specialising in primarily printing business cards, though they also make postcards, “mini” business cards, flyers, stickers, labels etc. The main website is MOO, however there are regional, geographical differences, in terms of currency displays, depending on which country you are in. For example, if you choose Europe, the site will show you MOO’s prices in Euros.

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MOO’s blurb:


MOO makes life a little less virtual.
We help our customers print things like Business Cards, Postcards and MiniCards, making it easy for them to share information about themselves or their business in the real world.

Print is simple and wonderful. We love it.

We’re a new kind of online printing business
MOO was born out of a love of beautiful, high-quality print.

Printing has been around for centuries, and we’re certainly not the first printer on the web. But, whilst many other printers have chosen to use new technologies to simply reduce the costs of printing (and often the quality), we strive to make print not only cost-effective but better than ever before.

We want to set a new standard for print, with remarkable new products that bring great design and uncompromising, high standards to the web. We’re only young, but when we grow up we want to be the best printer on the internet.

We believe in the power of great design
Design is key to everything MOO does.

Design helps us stand out: from the clothes we wear, to the homes we live in, to the business cards we use. Design tells a story about us and what we stand for.

But professional-quality design has traditionally been expensive or out of reach for most people; we want to change this. We’re passionate about helping people of all abilities design the best looking and highest quality print products: products that will help them or their business look great.

Our company vision is simple but ambitious: “great design for everyone”.

More about MOO…
MOO is an award-winning online print business.

Founded in 2006, MOO aims to disrupt the $100 billion global print industry by combining professional design with the accessibility and reach of the web.

MOO prints millions of cards a month and has hundreds of thousands of customers in over 180 countries. MOO has also become a much-loved brand, with a 75% NetPromoter rating.

The company has won 3 Webby awards (the web’s Oscars), has been profiled in the Financial Times, and was ranked in the top 10 UK start-up companies by the Guardian Newspaper. MOO has offices in London, UK as well as Providence and Boston, USA.

MOO has also raised over $5m in venture capital from the Accelerator Group, Index Ventures and Atlas Venture, the investors behind Skype, Betfair, Lovefilm, Last.fm and MySQL.

My post today is about Printfinity. Printfinity is MOO’s word for a very unique service, one I haven’t come across with other printers.

http://eu.moo.com/about/printfinity.html


What is Printfinity?
It’s the word we invented for a technology that’s completely unique to MOO. With Printfinity you can print a different photo or design on every Business Card, Sticker or Postcard in a pack. It’s a real conversation starter that means you can carry your portfolio in your pocket, show off your favourite products and help people remember your business.

As an artist, I just love the whole idea of Printfinity. For example, instead of printing 10 designs of 100 cards each, and then separating and sorting them into 100 packs of 10 designs, MOO’s Printfinity technology lets me upload my 10 designs onto their template, and then I simply have to specify whether I want 50 or 100 cards. If 50 cards, I will receive 5 of each of the 10 designs. If 100, I will receive 10 of each of the 10 designs. So I end up with just 1 pack of 100 cards, rather than 10 packs of 100 cards. Do the maths.

I have used MOO’s services a few times, primarily to get business cards made up using Printfinity. I recently ran another batch of 100 cards, using 25 different designs. I got an email from MOO offering me 50% off my next purchase, so I decided to use the same designs and have 100 “mini” cards made up as well. “Mini” cards are, half the size of business cards – 2 of them, placed side by side, make up the size of a normal business card.

Printfinity is a great way of seeing how my art looks on a product, plus I have something to show or give away to customers or potential customers too, like a pocket portfolio. I might get some flyers made up next…

MOO offers a range of different papers and finishes for their products, from a basic, everyday range to a high-end “luxe” range. This suits every budget.

The templates provided by MOO are really easy to use. For text, you get a good choice of fonts and font sizes. Simply write your text, then flip the template over to upload your images.

Delivery costs depend on the country you live in. I ordered mine and received them within 10 days, pretty good for UK to Australia these days. Each set of cards comes in its own robust cardboard box, a nice classy touch, great for presentations.

So, if you’re looking for something different, with a good range of paper options and pricing, ease of use, user-friendly templates, easy repeat ordering, a great customer service and delivery, innovative packaging, then MOO’s the one for you.

Below are examples from Google images of what others have used MOO for:

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A’Shop (pronounced A la Shop) first came onto my radar via Pinterest. (Many things come to me via Pinterest, it really is the font of all things interesting!). As is the case with all Pinterest pins, it was an image that got my attention first.

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I read that it was not one graffiti artist, but rather a collective of graffiti artists. Intrigued, I looked A’Shop up on good old Google:

A’Shop [À la shop] is an artist-run production company specialized in graffiti murals, street art and urban aesthetics. Our team started during the birth of Montreal’s graffiti scene in the early 90s, with some of our members acting as pioneers of the movement. We decided to officially associate as of 2009 in order to offer the most professional and efficient visual art service in the province. Equipped with 4000 square feet of studio and office space, we offer a wide range of creative resources and solutions, such as large-scale murals, live performances, decor, canvas art and custom design work for both commercial and private clients. Innovative ideas, authentic creations and street credibility are our signature style. We are the reference.

I love the idea of a group of artists getting together to collaborate on a large-scale mural covering an entire wall, rather than doing “their own thing”. The cohesiveness of the design makes the art preservable, you really want to keep it unsullied rather than call in the Graffiti Removals Police. Self-respecting graffiti artists will hopefully honour the sanctity of those walls and refrain from adding their own artwork to it. The completed graffiti artwork doesn’t have “tags” (signatures) of any individual graffiti artist, just a simple “A’Shop CA” signature. I have seen graffiti murals around where I live in Perth, Western Australia, that would have been wonderful if not for being desecrated by ignorant, egoistical hooligans. Some municipal councils here have started paying graffiti artists to decorate walls formally, to deter unsightly graffiti; these are largely successful, but sometimes some idiot with a can of spraypaint just can’t help making his own mark over it. I’ve read of some private homeowners who have commissioned graffiti artists to paint on their outer walls, with the hope it is appreciated as Art and doesn’t get destroyed by someone on an ego trip.

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(Excerpt from the A’Shop website):

When it comes to murals, whether it be large or small scale, nobody does it better than A’shop. We have mastered many styles, from the gritty street aesthetic to beautiful, photorealistic portraits. We are equipped to handle your project like no other company can. We have at our disposal 2000 square feet of studio space, a full graphics team for design and mock-ups, our A’shop van, paint guns, scaffolding, compressors, a complete inventory of the best paint on the market as well as in-depth knowledge regarding permits and municipal procedures across Canada. We provide more than just answers to your questions. We work with you throughout the project, starting from the initial consultation all the way up to documentation of the final product. We can also incorporate a mural into interior design projects or commercial settings.

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(Excerpt from the A’Shop website):

Some things look better framed, but at times you just want to break the boundaries. Our resident artists can paint custom artwork on any surface, from canvas to car, while bringing their unique flavor to each commissioned piece. Our team will assist you throughout your project starting at the initial consultation to the delivery of your personalized masterpiece. Equipped with 2000 square feet of studio space and our own loading dock, we can accommodate all of your project needs no matter the size or quantity. Our in-depth knowledge of paints, stains and finishes will ensure that you get a high quality product no matter what materials you provide us with.

 

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(Excerpt from the A’Shop website):

Family and community values have always been at the core of what we do as artists, and as a company. We now pride ourselves in being able to give opportunities and mentorship to the upcoming artists of the future. It is a privilege for us to pass along our knowledge in workshops aimed at helping youths gain confidence and hone their artistic abilities. We offer guidance for community services and schools looking to develop art programs, as well as participative mural projects that will inspire the whole neighborhood. We also offer unique team building experiences for companies looking to strengthen their troops, and seminars for scholars interested in the cultural history of street art and the graffiti movement.

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A’Shop’s Mission Statement:

At A’shop our goal is not only to provide a sustainable environment for our artists, but also to bring about positive change to our community through art. We seek to educate and uplift through the poetry of paint and we hope to drive a domino effect of change by inspiring the artist that resides in the hearts of every citizen, young or old. By enhancing the value of our urban architecture we aim to improve the cultural standing of our city as well as providing beautiful public art that is accessible for all to enjoy.  

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For more examples of A’Shop’s incredible works of art, and a Who’s Who of the collective, head on over to their website.

https://m.facebook.com/ashopcrew?_rdr

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For those of you interested in designing and printing wallpapers, or indeed any kind of surface design, Pattern Observer is an invaluable resource. I cannot praise it highly enough. It offers an insight into the burgeoning surface pattern design industry, you can subscribe to their regular email updates (I do), join their Textile Design Lab to enter into discussion with fellow likeminded artists, keep up to date with the latest news and trends in the industry. There are even e-courses you can sign up for to improve and hone your designing skills, learn new techniques and improve your own sales and marketing.

If you are the least bit serious about becoming a surface pattern designer, or even if you just want to investigate the ins and outs of surface design before you decide, you simply MUST join or follow Pattern Observer.

I love the layout of the blog, which can be used as a launchpad to visit other areas of the Pattern Observer microcosmos, all neatly organised and categorised for your benefit. Use the drop down menu there and you’ll see what I mean.

Pattern Observer can also be found on Facebook. So you can keep abreast of the latest news without even having to leave your favourite social media platform.

One of the many highlights of following Pattern Observer is that each week a different artist is showcased, providing insight into their processes, techniques, business practice, etc. Very useful and inspiring for aspiring designers.

Here I’m simply posting the links to bring together Parts 1 and 2 of Pattern Observer’s primers on wallpaper printing techniques through the ages. A potted history, if you will, for your enjoyment.

http://patternobserver.com/2014/05/05/wallpaper-printing-methods-part/

http://patternobserver.com/2014/06/02/wallpaper-printing-methods-part-ii/

For those wanting to take the guesswork out of designing pattern repeats, check out Pattern Observer’s 5 week self-study e-course, The Ultimate Guide to Repeats. Be aware though, this course assumes some prior knowledge of, and experience with, Adobe Illustrator and Photoshop.

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(Photo taken from the blog’s “About” page shows Pattern Observer founder Michelle Fifis and her family.)

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“It’ll never work,” said my friend Sheila. “It’ll get confiscated by Customs. You’ll never receive them, you’ve just wasted your money”.

Sheila was referring to my recent eBay purchase of 10 packets of Peony seeds from China (20 seeds in each packet). She was convinced my seeds would never get past the scrutiny of Australian Customs & Excise.

But, you’ve got to hand it to the Chinese. They are clever. They are cunning. They are enterprising. And they’ve been in this business long enough to know the loopholes.

It can’t be done? Tell that to the bumblebee, whose wings are so stubby they’d never support its rotund body. But it flies, does it not?

I received my package 2 days ago. It was packed really unassumingly, and the description on the jiffy envelope made me smile secretly to myself, and at the same time send a prayer of thanks to the gods above for the ingenuity of the Chinese.

Here’s how my Peony seeds got into Australia from China:

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Of course, when one feels the contents of the packet from the outside, it DOES feel amazingly like round beads. Similar enough to fool anyone, even an X-ray machine.

In Western Australia, it’s apparently too warm for Peonies to bloom. Seeds take 3-5 years to grow into a flowering bush, and then you’ll need a real contrast between hot and cold for the plant to flower. WA has mild winters, so it might never get cold enough for Peony plants to bloom. They might grow into bushes alright, but getting them to flower will be the real challenge.

I’m going to try anyway. Wish me luck!

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I first saw the work of Isabelle Menin while surfing on Pinterest. I was blown away immediately by the sheer beauty and impact of her work. Here are some words that I would use to describe Isabelle’s work: ethereal, enchanting, bewitching, translucent, layered, multi-dimensional, sensuous, effervescent, feminine, romantic, painterly, visionary, hyper-realistic, otherworldly. And inspiring, of course, which is why I’ve chosen to write about her today.

I don’t have to write much more about Isabelle’s Art, because she has expressed herself very eloquently and with clarity on her own website http://www.isabellemenin.com. Here is the transcript, taken directly from her site and in her own words. Interspersed between the paragraphs are images of Isabelle Menin’s works, for your viewing pleasure.

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WOULD YOU TELL US ABOUT YOUR BACKGROUND AND HOW YOU CAME TO BE WHERE YOU ARE TODAY?
After my formal studies in Brussels, I’ve explored painting for 10 years while working in graphic design and illustration. After several exhibitions in Belgium, I’ve decided to quit painting and to work with digital photography. Anyway, I ’ve always worked using nature’s elements, particularly flowers.

Yet my real source of inspiration is life – pain, joy, fear, enchantment, anger and gratitude –, Marcel Proust, my family, some friends and lovers…

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WHAT IS THE IMPORTANCE OF COLOUR TO YOU AND YOUR WORK?

I think it’s related to vibration and turbulence. Though we can produce vibration and turbulence with black and white as well, my work has grown with colour’s effervescence from the start. I’ve always felt the need to produce little explosions with colours.

Working with colour in order to obtain the expected vibration is extremely sensual. Maybe I’m just more sensitive to the infinite colour variations than to potentiality of black and white. Maybe because black is the locus of secret. Actually, it reminds me of that teacher who was showing black and white photographs to little children and one of them asked him: “So, the world used to be in black and white in the old days?” Indeed: how is the world?

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WHAT IS YOUR RELATIONSHIP WITH TECHNOLOGY?

Digital technology has been a total release. The “Undo” click is one of the greatest inventions ever!

It was a brand-new device, and it was so fascinating that it gave me the illusion of removing from me all the ballast of the art, my education, my analysis, and the critical distance. Definitely a bewitching tool, but also worrying at the same time because of the unlimited possibilities of manipulation it provides. It is so fast, so vertiginous that you can sometime hardly keep your path on the straight and narrow.

Going digital allowed me to push back my limits, to find a much wider sphere of activity where things tied up fluidly and were reversible.

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WHAT ROLE DOES RELIGION OR FAIRY TALES HAVE IN YOUR WORK?

I find it quite amusing that you link religion and fairy tales in the same question.

What we usually like in fairy tales is the moment the big bad wolf appears, it’s the twisting of reality, when a dark zone lights up all of a sudden and allows something till then unrevealed to emerge. It is the transition from smoothness to crookedness, the swing from light to darkness, the revelation of a different reality through gloom. If there is a link between fairy tales and my work, it is precisely in that particular aspect.

Concerning religion, I don’t exactly know what you mean. Are you referring to the form a group of people attributes to the mystery of God? That form only interests me in what it says about our societies. Yet the strange path we travel in the mystery of God is indeed very important and plays an important part in my work. However, I don’t really feel like talking about it as I consider it something very personal.

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AND HOW WOULD YOU CHARACTERISE YOUR WORKS’ RELATIONSHIP TO NATURE?

I call my work “inland photographs and disordered landscapes” in reference to nature’s strange complexity that looks to me like human strange complexity. The uncontrolled forces, the shapes’ complexity, the interweavings and the synergy of the elements, they all look to me like a mirror of human spirit. We are no straight lines, we are like nature, a very large network of interferences that work together to produce something which sometimes looks accomplished and then gets destroyed in a perpetual coming and going between order and disorder.

Also, nature is the place where I can get rid of human figures, human noise, human arrogance. Nature looks like it doesn’t give a shit about us and that is very relaxing!

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HOW MUCH OF YOUR WORK WOULD YOU CONSIDER TO BE SCULPTURAL?

That question surprises me inasmuch as I have never thought of my work in those terms. I create a space that unfolds through the depth I get by accumulating layers, by light, by transparency and opacity; I put elements together that create a kind of fake landscape, I photograph and then manipulate them in order to twist them and show the sometimes hidden sides. But in the end, it remains an image, thus two-dimensional.

To apprehend a sculpture, one must be able to turn around it: its link to space is an intrinsic part of it and, it interacts with space. I also have the feeling a sculpture belongs to a much less intimate space than an image. Now I rather lean towards an intimate and solitary relation with the image.

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IS THERE ANY ELEMENT OF YOUR WORK WHICH YOU FIND PEOPLE COMMONLY MISINTERPRET?

Yes, most of the time people mistake me for a florist!

People often refer to past centuries paintings when seeing my work. Flemish Primitives, Rubens, Watteau, Fragonard, whatever. Though I’m much more fascinated by “ancient art” than by contemporary, it’s not something I am in any way striving to, it just happens. It appears at the end of the process, but it’s not intentional. I realize that it’s like if I were regurgitating years and years of art loving, but I don’t want to transform past in something contemporary, I’m not playing with the tension between ancient and new, between past and modernity, I’m not playing with modernity at all: I just want to put things together to rebuilt, to discover in what way I see the world and I happen to do it with a computer rather than with brushes. That’s all.

Also, there are people who just see the “gorgeous” and “romantic” side of my work. In the most pejorative way. I recently read a Diane Arbus quote saying “I’ve never taken the photograph I intended to take”, and it made echo with me. Between what I want reach and the final image there is a lot of fight, and I’m not always the winner. Actually, most of the time I’m the loser. But what’s important is the new things I’ve discovered and was obliged to explore by loosing the battle. And maybe I go where I didn’t want to go and maybe I’m lost in “beauty”. But maybe, finally, that’s where I want to be: lost in beauty. Of course, if it’s only “gorgeous”, it means that I failed.

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IS IT IMPORTANT TO YOU THAT YOUR WORK IS ABLE TO MAKE A CONNECTION WITH A BROAD RANGE OF PEOPLE BOTH SEASONED ART LOVERS AND LAYMEN ALIKE?

Honestly, I don’t know…”People”, “a lot of people”… It doesn’t mean anything to me.

I thereby mean, and it’s probably very selfish, that I work first and foremost for myself. I don’t exactly work for “myself”, I just work. I’m not sure I want to know how many of “these” or of “those” people like or don’t like my work. In other words: for me, the image really exists as long as I’m working on it. Once a picture (or a series) is finished, once it goes out “into the world” I feel like a stranger to it. It’s already somewhere else.

Furthermore, nowadays the web allows a large spreading: one does not know who is reached, nor why. The web is very voracious, everything circulates very rapidly, everything travels, everything is fragmented.

So, whether they are amateurs or professionals, I guess that like elsewhere all that matters is that a real connection happens, that a real exchange takes place, driven by curiosity and surprise.

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WHAT’S A SOUND, SCENT AND FLAVOUR THAT’S IMPORTANT TO YOU AND WHY?

There are too many of them! But what I would like is to picture a scent; I would like to make a photograph of a scent! A scent can be a sound, a sound can be a flavour, etc. They both can be each other. Anyway, sounds, scents and flavours are shapes to me. They are rounds, broken lines or arabesques, squares or pyramids, things like that. More often they are shapes rather than colours.

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HOW WOULD YOU DESCRIBE YOUR SUBJECT MATTER OR THE CONTENT OF YOUR WORK?

Life. Death. The constant mystery of being on earth. Perplexity.

My driving force is not in the critical distance. I’m interested in expressing basic human emotions even if there is a fight between what I want to do/say and what the “image” wants to do/say. It’s all about life, love, death and personal progression. An inner conversation with the world of emotions and impressions by walking the path of life. My images stand at the intersection of my different perceptions of life and express the abundance of possible answers. Everything is reflexion, mirror; everything responds to everything. That’s why I keep on adding layers upon layers and layers. I try to finally produce something as swaying, blurred and uncertain as our strange lives.

It’s not about escaping from life, it’s about digging deeper into it.

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WHAT WAS THE LAST ARTWORK TO HAVE AN IMPACT ON YOU AND WHY?

A band, Wovenhand. They are very important to me. They gave me strength and courage. Faith.

A Belgian visual artist recently discovered: Thierry de Cordier. I went to see an exhibition of his paintings lately. I thought I had to cross the whole museum before reaching the room where his paintings were exhibited, but actually as soon as I entered the museum I saw them. And my heart jumped into my chest like when you see somebody you’re in love with in a crowd where you didn’t expect to see that person. That painting is to be seen, not to be talked about. It’s a place without words, a strange silence that you can see. Silence can actually be seen.

In literature: Dostoyevsky’s ‘Brothers Karamazov’ and Russell Banks’ novel ‘Cloudsplitter’.

Actually, all these works are about darkness and light, about how to walk as human being with the terrible mystery of God that some are feeling and some are not. They are all rough, scarred works full of dust and sweat. “O the heights and depths” sings David Eugene Edwards.

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WHAT IS A RESPONSE TO YOUR WORK THAT LINGERS IN YOUR MEMORY?

Somebody once said about my work: “inspiration junkie”. I like that.

I don’t do drugs but I often act as if I were.

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WHAT NEW TECHNOLOGIES AND/OR MEDIA WOULD YOU LIKE TO WORK WITH IN FUTURE AND DO YOU HAVE ANY SPECIFIC GOALS AND ASPIRATIONS FOR YOUR WORK?

I don’t exactly care about new technologies. I don’t dream of anything else that what I can use now, I try to do with what I have. I just would like to have 72 hours in a day. That would be a major improvement!

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Galerie Antonio Nardone (Brussels/Belgium – Torino/Italy)
Sophie Maree Gallery (The Hague/The Netherlands)
Joseph Bellows Gallery (CA/USA)

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I was trawling through the Internet the other day, looking for inspirational ideas with the themes of birds, butterflies and flowers. These are recurring motifs in my own work, and I wanted to see what other artists out there were doing. I came across the work of Louise Tiler and was immediately inspired to blog about her. Here is a young lady whose work not only incorporates motifs dear to my own heart, but who is also a talented artist who handpaints and draws her beautiful designs, with a little bit of help from CAD programmes. AND who has her work licensed by several international companies. Louise certainly is going places! Apart from birds, butterflies and flowers, Louise also designs around architectural themes, and also incorporates British woodland creatures such as foxes, owls, badgers etc into her work.

Excerpt taken from Louise’s web page:, and photos courtesy of Google:

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Louise Tiler is a ‘happy’ and ‘smiley’ independent surface pattern designer, born and raised in Yorkshire and is now based in the famous World Heritage village of Saltaire.

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Louise Tiler graduated with a First Class Honours Degree in Printed Textiles & Surface Pattern Design from Leeds College of Art in 2011. Before graduating Louise received high recognition for her design work winning a number of design awards and competitions. These include Prestigious Textiles award from the Bradford Textile Society and Tigerprint online card competition for Marks & Spencers where she began freelancing throughout university and still works with the company today! In her final year at Leeds Louise was first recognised for her unique wallpaper collections and won Surtex International design competition ‘Designex’ in New York and at the Historical Textile Competition 2011. Soon after graduating Louise received both national and international recognition for her design work and was named New Designer of the Year in 2011 from thousands of new UK designers in London. After early success Louise decided to work as a independent designer and has gone on to freelance for some of the world’s top greeting cards, fabrics, tableware, wallpaper and homeware brands.

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Louise is extremely passionate about creating intricate hand-drawn and hand-painted designs. All of her elegant artwork is carefully painted to create detailed and well thought out designs that are not only a personal signature of Louise’s hand drawn style but they are designs she is incredibly proud of because they are her own unique hand creations. Louise takes inspiration from everything around her but she has a real love for floral paintings, vintage pattern and historical textile design. She combines traditional hand drawn techniques with modern digital processes to create vintage inspired and contemporary designs.

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As well as wholesaling her own range of paper products and greeting cards which launched in 2014, Louise is expanding her label through licensed products and working with and manufactures to produce a wide range of products including wallpaper, wall art, tableware, ceramics, soft-funishings and greeting cards. Louise will be launching her own range of paper products in May 2014 and will appearing on the TV channel QVC in May 2014, selling her licensed homeware products.

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CLIENTS

Louise is proud to have worked with the no1 wallpaper company Graham & Brown, Woodmansterne Publications, QVC, Dunelm Mill, The Range, B&Q, Marks & Spencer, Alison at Home, Bernstein & Banleys, Artistic Britain (Primeur), Tigerpint, Cardmaking & Papercraft, Eagle Eyed Bride, Melamaster, S Blinds and Hill and Co Rugs.

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IN THE PRESS

Louise Tiler has been featured in National Newspapers, Home & Interior magazines and designs blogs. These include Elle Decoration, The Mail on Sunday, The Independent, Progressive Greetings, Dezeen, Moyo Magazine, The Yorkshire Post.

Louise Tiler – In the Press Louise Tiler – In the Press
AWARDS

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Prestigious Textiles award from the Bradford Textile Society
Tigerprint online card competition for Marks & Spencer
Surtex International design competition ‘Designex’ in New York
Historical Textile Competition 2011
Mary Porta’s Design Search
New Designer of the Year in 2011 London

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http://www.alyzenmoonshadow.wix.com/alyzenmoonshadow

I’ve heard about ISSUU from reading other magazines and brochures published using their platform. My most recent encounter was in the form of UPPERCASE magazine (of which later). I got my grubby hands on a hard copy of Issue 21 of UPPERCASE just the other day, and the quality of the paper and layout are superb. Sure it’s rather pricey, but UPPERCASE is, like most ISSUU magazines, an independent production and has a small (but growing) subscription.

So impressed have I been by this that I’m now contemplating publishing my own magazine on mobile photography art. I haven’t figured out the technicalities of doing this yet, but that’s another story.

From ISSUU’s website http://www.issuu.com

Rediscover reading
With over 15 million publications, Issuu is the fastest growing digital publishing platform in the world. Millions of avid readers come here every day to read the free publications created by enthusiastic publishers from all over the globe with topics in fashion, lifestyle, art, sports and global affairs to mention a few. And that’s not all. We’ve also got a prominent range of independent publishers utilizing the Issuu network to reach new fans every day.

Created by a bunch of geeks with an undying love for the publishing industry, Issuu has grown to become one of the biggest publishing networks in the industry. It’s an archive, library and newsstand all gathered in one reading experience.

The statistics:
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Signing up was easy. I chose to do it via my email address, but you can also sign in using Google+, Facebook or LinkedIn.

The user interface is very similar to that of Pinterest and Flipboard. You start out by selecting a few publications to follow. Then you can save your favourites to “Stacks”. Magazines can be read online for FREE, but you can also buy hard copies from good newsagents worldwide.

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As you can tell from the photo above, I could start my own magazine online straightaway. But I won’t right now…instead I’ll check out some of the publications and assess them for quality of print and clarity of images.

My first magazine is the Maxwell & Williams “Joie de Vivre” 2014 catalogue. (I ♥ Maxwell & Williams teacups. My birthday is on 1st July. Just sayin’). With all ISSUU online publications, you can enlarge the pages to zoom in on text and images. Depending on how each publication was set up, the quality of enlargement may vary. (UPPERCASE wouldn’t zoom in enough for me to read the text clearly, which is why I had to resort to buying a hard copy).

Here are some screenshots from the Maxwell & Williams catalogue. (I have the red teacup and saucer already, ahem!)

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And here are some screenshots of UPPERCASE magazine issue no.21. You can see how the text is blurry and pixellated upon zooming in.

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That said, so far, the quality of ISSUU’s publications has been on the whole impressive. I can see myself getting lost in a world of fresh magazines. Have I said you can read them online for Free? I haven’t started any “Stacks” yet, but when I do, and when I start investigating how to publish my own magazine, I shall write and let you know, of course.

Posted from WordPress for Android.

http://www.alyzenmoonshadow.wix.com/alyzenmoonshadow

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