I based this composition on the esthetics of the “chivas”, a rural form of transportation that represent the colombian idiosyncarsy with a beautiful and picturesque combination of color and forms. The “chivas” were declared cultural patrimony in 2008 and are a symbol of the emblematic floklore that I wanted to transmit in this poster.

The FORKA Project is a platform that includes various creative activities that develop innovative approaches to research of the form, both in its formal form, and in the sense of its abstract expression, perception and understanding of the sensual, emotional, material and mental aspect.
According to various types of creativity and activities, the motto THE MORE IS MORE, THEN LESS, is an important source for creative solutions.
The result was the mixing of different design genres, which would show the basic idea of a new approach in design dedicated to very young artists.

I am more then my colour or my measurements.

Twice a year the centre organises Pilar Asap: a multidisciplinary festival of exhibitions, performances, lectures and workshops. A selection of young artists and musicians that Pilar believes should be on everyone’s radar takes centre stage. As far as communication about the festival is concerned, designers Corbin Mahieu and Lennart Van den Bossche went in search of a typography that embodies the different worlds of Pilar: the historical force and age-old generations of the university on the one hand and the rebellious, punky youngsters of Pilar on the other. The font Bill from 1950 by the artist Max Bill (1908-1994) encompasses both elements.

Prate is a calendar, a command line, a depository for illustrator files, an open directory and an aesthetic testbed for myself. This is a piece of Prate.

The work move consciously at borders of the photographic image.
They are lab experiments, developed from moments where light or chemical
process of development dominated the depicted. Concentrating on the visibility of the image often leaves the process of visualization too short, ignoring the production process in favor of what you see in a photo.

The work places these questions at the limits of visibility, at the borders between
the intentional and the unintentional. It switches perspectives, manipulate pieces
to let the material compete against the sign: the view as a gateway for inevitabilities
of all kinds.

analoge C-Prints 50 x 40 cm

In the dawn, when the sun sets up before your eyes, you feel like you’ve had a good night.

Celia Álvarez Muñoz is a conceptual multimedia artist, recognized internationally for her diverse and multifaceted body of work including artist books, photography, painting, written text, installation, and public art. She often used the Cibachrome printing process to produce oversized photographs of staged objects and sculpture. This catalog was created with Art League Houston in commemoration of their 2020 Lifetime Achievement Award in the Visual Arts. For the cover, we collaboratively chose this colorful gas mask feathered assemblage on a hot pink background, a perfect nod to the strife of quarantine life and how we seek identity and self-expression under the toughest of circumstances.

Spray paint drawing on paper done on New Year’s Eve 2020 reflecting the mood of celebrating alone with my girlfriend Stacey during the COVID-19 lockdown.

Müller/Schüßler is an artist duo working together since 2015. Throughout plain-air-painting-trips across Europe, our collaborative work concerns different appearances of landscape. We are driven by all things landscape and nature has to offer for us – we are stunned by form and color, dazzled by light and atmosphere of a flashy scenery. Mostly, we work on site, some works are a product of simultaneous work others solo. We’re into painting on canvas, drawing on paper or even doing clay models of the scenery.

This piece is part of a collection in which I explore the contrast and tension between a subject and its environment, the abstract and complex, nature and geometric shapes.

The first 2 images are a technique possible only by using vintage Polaroid film. I render the image transparent and paper collage behind the portrait.
The follow pair of images is a direct emulsion separation and transfer. The technique is a bit more savage and instinctive. You have to accept all the accidents.

Environmental graphics for the adidas North American headquarters in Portland Oregon. The art work deconstructs the iconic geometry of the brands identities and products.

Die Buchreihe stellt ausgewählte Frankfurter Architektur der Nachkriegszeit. 1 Buch = 1 Jahrzehnt = 10 außergewöhnliche, besondere, charmante, dominante, eigenartige, fabelhafte… Bauten. Mit Essays, die den zeitgeschichtlichen Kontext behandeln. 21 x 24 cm, +/- 200 Seiten.

Originally commissioned by the New York Times to design the cover art for the 50 Years of Pride issue. Half a century ago, the police and patrons clashed during a raid on the Stonewall Inn, a gay bar in Greenwich Village. The riot poured out onto Christopher Street where the pride colors now intersect with the street crosswalk lines. That clash helped spark a movement that continues to this day. Designed to commemorate that historic moment, the cover draws inspiration from the pride colors painted on the Christopher Street crosswalk, turning them into a 50. The cover was then turned into a limited edition of 50 signed and numbered 24” x 36” artist prints.

Die-cut skate graphic. Single color (white) printed. All color is courtesy of the bottom ply of each deck. Pictured are the primary yellow/blue/red versions, but there were nearly limitless options built.

Plausible Landscapes is a series of fictitious landscapes. They are superimpositions of three unrelated color photographs that were never intended to coexist. For each photograph, only one color channel of the RGB colorspace is kept. A new landscape emerges where the photographs overlap. With careful positioning and contrast filtering the artist never has to resort to physical masking. Once converted to black and white, the antagonistic colors are blended into a seamless amalgam, their diametrically different hues now sharing a grayscale value, lightness and darkness. The results are plausible and somewhat familiar but ultimately deceiving.

The pursuit of this body of work is to document the ongoing flux of novel events that I experience. My goal is to share my perception of the world so that others can see the beauty, color, and humor.

Art direction: Jorge Puebla
All the illustrations: Molstudio

Alice Real Estate born to sell high-quality homes in a very personalized way.
In order to differentiate Alice from the competence and avoiding the typical industry-standard photographic treatment, we worked around colorful illustrations, showing that the purchasing/selling process of a house can be something relaxed, friendly, and fun.
Alice wants to make you into her story, can you guess which one are we talking about?

Catalina Aranguren’s work is a dialogue about the modern world and our place in it. Light is the foundation and sets the tone of the conversation. Because of the diversity of cultures in which she grew up, her work explores the relationship between perception and cognition. The idea of the “perceived” and the “actual” are rapidly shifting cultural concepts, though their ability to elicit reactions of fondness or fear remains a constant. As an artist she has the unique opportunity to exemplify, subvert, and redefine these concepts, adding her voice to a dialogue between the viewer and their history.

Catalina Aranguren’s work is a dialogue about the modern world and our place in it. Light is the foundation and sets the tone of the conversation. Because of the diversity of cultures in which she grew up, her work explores the relationship between perception and cognition. The idea of the “perceived” and the “actual” are rapidly shifting cultural concepts, though their ability to elicit reactions of fondness or fear remains a constant. As an artist she has the unique opportunity to exemplify, subvert, and redefine these concepts, adding her voice to a dialogue between the viewer and their history.

Catalina Aranguren’s work is a dialogue about the modern world and our place in it. Light is the foundation and sets the tone of the conversation. Because of the diversity of cultures in which she grew up, her work explores the relationship between perception and cognition. The idea of the “perceived” and the “actual” are rapidly shifting cultural concepts, though their ability to elicit reactions of fondness or fear remains a constant. As an artist she has the unique opportunity to exemplify, subvert, and redefine these concepts, adding her voice to a dialogue between the viewer and their history.

The Print „Rana #1“ is part of the „Rana Series #1—5. This series contains five prints. These series is part of the project called „Evolution Of Shape“. This project is an artistic visual research by Bollo. It is a collection of forms, shapes, objects, visual experiments, random stuff, accidents and visual spectacle.
„Rana #1“ is a risography print, designed in three layered colors: blue, bright red and fluorescent pink.

As a taxonomy research, Pauline observes and collects hundreds of hematomas pictures of her own and foreign bodies. The colors, the lifetime’s transformation, and the imperceivable characteristics of bruises are the fascination of the project.
She recontextualizes them and transmits us a new perception, by exhibiting them as tangible objects printed with Risograph and Silkscreen. These print techniques are bringing color intensity, depth and unexpected outcomes. In addition, the four-color printing on latex, the layer’s superposition of the printing process remind the reaction of the body after a shock.