<p>Today we feature <a href="/aeiko/"><strong>Pete Harrison</strong></a> and his work. Take a break, pour yourself an espresso, top off your coffee, crack open another Red Bull or break out the china and sip on high tea... & let's see what Pete has to say to all y'all (just saw the Hatfields and McCoys)</p> <p>Enjoy!</p> <p><strong>FF: How would you describe your art and design style?<br /> <br /> Pete:</strong> My design style I guess at the moment you could say it was photo manipulation with lighting effects, I use similar elements and the way I work that now people recognise a piece and can put my name on it, the workflow of each project is different, normally if it's a personal piece, I will get the concept down, then sketch an idea and then go straight into photoshop. If it's a client piece well they might have an idea of what they want so I will work to that..or sometimes if I'm experimenting I just go straight into digital! Recently I got a new graphics tablet so my style is evolving, I am drawing more and you will see a lot of new stuff this year, that you probably would not expect from me!</p> <p><img alt="" height="845" src="/cache/pad_portfolio_thumbs/2011/03/25/c535365dc2c47cbc025c7aca0fb96dde_detail_image.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="600" /></p> <p><strong>FF: How much input do you have during the initial phase(s) on projects and how does that effect how you tackle the design?</strong></p> <p><strong>Pete: </strong>It all depends on what the project is and who the client is. Some clients are pretty specific about what they want, others you can talk to and input some of your own ideas into the brief and design stages. If the client is specific I try and stick to their design but keep it in my own style, which is probably [why] they [came] to me for in the first place, I pretty much tackle the design the same way in any case.</p> <p><strong>FF: How do you prepare for a big campaign?</strong></p> <p><strong>Pete:</strong>I set aside some time to just think about it, get my head around everything, make sure I'm stocked up on smokes, Diet Coke and snacks and spend a night working on it, come back to it the next day with fresh eyes and any feedback and then rinse and repeat :)</p> <p><strong>FF: What tools of the trade do you prefer to use and have you discovered any interesting techniques you could share with us?</strong></p> <p><strong>Pete:</strong> I just use my iMac and Photoshop to create everything, like I mentioned earlier I have recently bought a graphics tablet, a <a href="http://www.wacom.com/en/Products/Cintiq/Cintiq24HD.aspx?utm_source=Google&utm_medium=GCN&utm_campaign=C24HD&gclid=CNKmm5XBprACFagaQgodP0K1ag"><strong>Wacom Cintiq 24HD</strong></a> which will allow me to do a lot of creative things I could not previously do with the mouse, in fact, [I] have been working on a whole new style and going back to a few of my traditional techniques!</p> <p><img alt="" height="771" src="/media/cache/pad_portfolio_thumbs/2011/03/26/536671211275053_detail_image.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="600" /></p> <p><strong>FF: Do your subjects (sport stars, models, celebrities) ever contact you directly? If so, share with us a memorable story.</strong></p> <p><strong>Pete:</strong> I have had a few DJ's contact me directly, but most of the time its via there agents. I worked with Drum and Bass duo <a href="http://www.myspace.com/sigmauk"><strong>Sigma</strong></a> once, and we had our first client meeting in a club where they were playing! I love drum and bass music, its my favourite genre so to be on the guestlist and see other artists I knew that night also was a great experience!</p> <p><strong>FF: How often to do you illustrate? How do you compare it to your photo manipulation work?</strong></p> <p><strong>Pete:</strong> Recently everyday! Doing drawing on my new tablet, I can't wait to share my new works with everyone, I might just do a bunch of personal and client work and then just update my website in one go!</p> <p><strong>FF: If given the opportunity who would you like to collaborate with?</strong></p> <p><strong>Pete:</strong> Over the years its true I have collaborated with a lot of artists, I did this mainly because it's fun but it also pushed me and have develop my style and techniques. Recently I only collaborate with people with <a href="http://depthcore.com/"><strong>Depthcore</strong></a> if we are working on an artwork for a new chapter, or I do bigger collaborations with members of the <a href="http://blackrockcollective.com/"><strong>Blackrock Collective</strong></a> as part of a larger project, recently we did a skateboard and some card decks. I would love to do more personal art and there are still a lot of people that I would love to collaborate with, its just finding the time, I do get a lot of requests also, but have to turn most of them down due to time constraints. My favourite collaboration was the one I did with <a href="http://www.andreaswannerstedt.se/"><strong>Andreas Wannestadt</strong></a><strong>,</strong> it was a flash animation for the splash page of my clothing label <a href="http://www.andreaswannerstedt.se/funkrush/"><strong>Funkrush</strong></a>.</p> <p style="text-align: center;"><img alt="" height="1101" src="/cache/pad_portfolio_thumbs/2011/03/26/aa3bc7aed2c870013345feb5dd197f88_detail_image.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="600" /><br /> You can view it online<br /><a href="http://www.andreaswannerstedt.se/motion/funkrush/"><strong>http://www.andreaswannerstedt.se/motion/funkrush/</strong></a></p> <p style="text-align: left;">We decided to make an animated intro that reflects the essence of funkrush, and that highlights elements from the designs as well as some of the featured artists. I did most of the art directing and creating the graphics and andreas worked on the compositing and animations. The final result is a mixture of urban infused graffiti street art mixed with cool, funky and unique characters. The project took us 6 months on and off whilst we were working on our own projects and client work. It was so much fun because I was passionate about the project (It is my clothing company afterall) and it was fun collaborating. It was exciting getting an email back from Andreas and seeing the progress we had made and it all come together bit by bit. I think if I had to collaborate with anyone again it would be Andreas, and we will at some point when we have some free time!</p> <p><strong>FF: What are you currently working on? (can we peek)</strong></p> <p><strong>Pete:</strong> I am working some stuff for a health product called <a href="http://www.babyquasar.com/">Baby Quasar</a>, we are doing a new website for their new product, so Im in charge of all the design aspects. I just took up some new work for a club in switzerland, apart from that just a bunch of new personal illustrations, I would give you a preview, but I'm saving them for a website update and to show everything new I've been doing!</p> <p><strong>FF: Give our readers some sage advice?</strong></p> <p><strong>Pete:</strong> Live by a <strong><em>Amo la Vita</em></strong> lifestyle, love life! If you are passionate, you will succeed, just keep practicing! Don't forget to have a healthy social life too and try and balence you health, love and wealth. Overall just be happy and if you are creative, keep doing what you love!</p> <p>[Pete, everyone here at FF Blog is looking forward to the new work, can't wait for the follow-up post. Cheers!]</p> <p>Enjoy Pete's work, visit his <a href="/aeiko/">PAD</a>: <a href="/aeiko/">/aeiko/</a></p> <p> </p>

<p style="text-align: center;">"Patrick & Chris @ Filter Foundry's booth @ NVIDIA GPU Tech Conf. 2012"</p> <p><a href="http://www.gputechconf.com">GPU Technology Conference</a> (GTC) advances global awareness of GPU computing and visualization and their importance to the future of science and innovation. Through world-class education, including hundreds of hours of technical sessions, tutorials, panel discussions, and moderated roundtables, GTC brings together thought leaders from a wide range of fields.</p> <p>The <a href="/">Filter Foundry</a> Team was excited to be selected for the Emerging Company Summit recognizing tech innovation.</p> <p>Attendees at GTC arrive from over 40 countries and comprise virtually every profession involved in HPC.</p> <p>GTC is the must-attend event for those working on the most complex computational problems and those interested in learning about parallel programming to achieve significantly faster applications.</p>

<p>It’s Diablo month on Filter Foundry: As our way of recognizing one of the greatest game sagas every imagined,  Filter Foundry is giving 3 months of Pro Membership for all concept art uploads during the month of May. It’s really simple, <strong>create an account with Invite Code “Diablo”</strong> and start uploading your best game or fantasy concept art. Our internal team of art curators will award the best PAD with 2 years of Pro Membership.</p> <p><img alt="This video game image released by Activision Blizzard Inc., shows gameplay from 'Diablo III'. The epic fantasy role-playing game has been 12 years in the making." src="http://cmsimg.freep.com/apps/pbcsi.dll/bilde?Site=C4&Date=20120515&Category=ENT06&ArtNo=120515041&Ref=AR&MaxW=640&Border=0&Video-gamers-geeked-over-release-Diablo-3-" width="617" /> <br /> This video game image released by Activision Blizzard Inc., shows gameplay from "Diablo III". The epic fantasy role-playing game has been 12 years in the making. / AP Photo/Activision Blizzard Inc.</p> <p>IRVINE, Calif. — Fans of "Diablo III" celebrated the midnight launch of the long-awaited video game.</p> <p>A crowd of more than 1,500 gathered Monday night around a stage built underneath the Ferris wheel at the Irvine Spectrum Center, a shopping center located about a mile from developer Blizzard Entertainment Inc.'s headquarters, for the gritty role-playing sequel set in the fantastical world of Sanctuary.</p> <p>Anticipation for "Diablo III" from publisher Activision Blizzard Inc. has bubbled over because the previous entry in the series was released 12 years ago, a lifetime in the gaming world when compared with franchises like "World of Warcraft" and "Call of Duty," which regularly receive updates.</p> <p>"When we first started doing midnight launches, we didn't think anyone would come, but now we do them for all our games, and they get bigger and bigger," said Rob Pardo, Blizzard's vice president of game design. "It's great for not only the fans but also the development team. They get to be here when everyone is buying the game and see the excitement."</p> <p>"Diablo" fans huddled around the stage to watch Blizzard artists sketch characters from scratch, view never-before-seen footage, take part in trivia contests and attempt to catch free swag during "loot storms."</p> <p> </p> <p>Ian Noble, 24, wanted his collector's edition autographed by developers.</p> <p>"There's nowhere I'd rather be tonight," Noble said. "I've been waiting for this moment for a long, long time."</p> <p>So why did it take so long?</p> <p>"We were just goofing off mostly," joked lead designer Jay Wilson over howls from the crowd. "No, it takes a long time to make a Blizzard game. We're very focused on quality. If we think something is not good enough, we make it better. We redo things, which is really uncommon in game development. If we build a level and don't like (it), we'll throw it out."</p> <p>In the third chapter of "Diablo," players choose among five classes — barbarian, demon hunter, monk, witch doctor or wizard — and battle hellish minions across the <span id="itxthook0w0">landscape</span> of Sanctuary.</p> <p>Wilson hopes new sprawling battlefields, real-money auctions, a deeper combat system and increased online capabilities for "Diablo III" will appease even the frustrated fans.</p> <p>"If we could have done anything different, we probably wouldn't have announced the game when we did," said Wilson. "We could have waited a little longer. We thought we were closer to release. We want people to get excited, but we don't want them to feel like they're strung along. We always try to have a dialogue with the audience and exceed their expectations."</p> <p>Sterne Agee analyst Arvind Bhati said "Diablo III," only available to play on PC and Mac <span id="itxthook1w0">computers</span>, not game consoles, has the potential to sell more than 4 million copies. He estimated Blizzard would sell 3.5 million copies this year. "Diablo II," released in the summer of 2000, sold 4 million copies in the year after it debuted.</p> <p>Useful Diablo 3 website:<br /><a href="http://www.g4tv.com/thefeed/blog/post/723793/diablo-3-beginner-guide-welcome-to-sanctuary/">G4's Beginner's Guide</a><br /><a href="http://diablo.wikia.com/wiki/Diablo_Wiki">Diablo3 Wiki</a><br /><a href="https://www.youtube.com/forcesc2strategy">Best Diablo3 Youtube Channel: Force</a><br /><a href="http://us.blizzard.com/en-us/games/d3/?int">Official Diablo3 Site from Blizzard</a><br /><a href="http://www.ign.com/games/diablo-iii">IGN's Exclusive Diablo3 site</a><br /><a href="http://www.diablopodcast.com/">INC Gamer's Podcast</a><br /><a href="http://diablofans.com">News @ Diablofans<br /></a></p> <p> </p> <p>Article Source: <a href="http://www.freep.com/article/20120515/ENT06/120515041/Diablo-III-3-launch-video-game">Detroit Free Press</a></p>

<p>If I had to pick one art movement that has fascinated me since my first days in art school they would have to be <a href="http://ff.fildry.com/JcH63W">Art Nouveau</a> and <a href="http://ff.fildry.com/JTrQ6N">Art Deco</a>. Yeah I know (just one) but I can't have one without the other. If you look around neither can our contemporary architects and artist friends. You can't escape it. It's everywhere: buildings, movie posters, smart phones. People are naturally attracted to the lines both rigid and flowing from these period. When I first had the pleasure of seeing and later working with Trish I felt that natural attraction to her art. So, I shot a couple of question over to Trish via our favorite social media outlet and this is what she had to say about how she started, what she's working on and a couple of words of advice.<br /> Enjoy!</p> <p><br /> <strong>FF: In a couple of sentences, would you describe your paintings?</strong><br /> Trish Biddle: A constant work in progress but today it's a cumulative effort of life experiences resulting in Glamorous Women in Fabulous Places.<br /> <img alt="" src="/cache/pad_portfolio_thumbs/1336637153.39_detail_image.jpg" width="617" /><br /> <strong><br />FF: Tell us how you started?</strong><br /> Trish Biddle: Art school in the 80s to Textile design for a clothing manufacturer to corporate offices of JC Penny (where I learned the trade of the fashion industry.) Branching out on my own I sent textile designs to a studio in NY. Then found a publisher in Vancouver. They started me in landscapes so my Husband and I took a month tour from Paris to the Amalfi. Wanting to paint the figure and my love for fashion began to incorporate my travels with textiles and my trademark was born.<br /> <br /> <strong>FF: Do you have a favorite painter?</strong><br /> Trish Biddle: Tamara De Lempicka . <br /> <br /> <strong>FF: What is your favorite subject matter? & Medium?</strong><br /> Trish Biddle: Art deco artist from 20-30's. Water soluble oils. Non-toxic and quick drying.<br /> <br /> <img alt="" src="/cache/pad_portfolio_thumbs/1336637187.03_detail_image.jpg" width="617" /><br /> <strong><br />FF: Do you have a signature piece that you consider a perfect example of your work?</strong><br /> Trish Biddle: Red Dress, Eiffel Tower.<br /> <strong><br /> FF: Who continues to inspired you to paint?</strong><br /> Trish Biddle: My husband Bryan and girls Chloe 8 and Claire 6. To be an example to my girls that you can live your Dreams.<br /> <br /> <strong>FF: Tell us about the series you are currently working on?</strong><br /> Trish Biddle: A children’s book for my mother the Author called Everette Green. A tree for all seasons. Not exactly glamorous nor fabulous but it's fun and a labor of love. <br /> <br /> <strong>FF: Any advice or words of wisdom for our young painters? </strong><br /> Trish Biddle: Find your own voice in your work. Learn as much as you can but don't look around and try to be something your not. Be passionate about your work and the rest will work itself out.</p> <p><a href="http://ff.fildry.com/JCQVVm">Visit her PAD to get a taste of her "fabulous" ladies.</a><br /><a href="http://www.trishbiddle.com/">Visit her extensive web site for more information on her past, recent and upcoming collections.</a></p>

<p><strong>Cut your hours.</strong><br />At first glance, many creative professionals are horrified at this idea. It appears counter intuitive to cut your hours in order to get more done, but this is a proven successful method. It is easy to feel overwhelmed when you overload yourself with work, and you will find yourself dragging. This can lead to poorer work quality. By keeping your hours short, however, you can be more efficient and focus on the task at hand, rather than how much more you have to do.<br /><br /><strong>Give your designs time to settle.</strong><br />This will give your brain a break after hours of working on a project, and let you look at it with new clarity. You should always take a break before editing and making final adjustments. Many designers put together design portfolios and then put them aside for a few days before making them official. <br /><br /><strong>Be aware of your energy levels.</strong><br />When you have a lot of energy, put it into designing. When you know you have low energy, don't waste time trying to force yourself. Many people are more productive in the morning, while others find the most energy in the evening.<br /><br /><strong>Be open to inspiration!</strong><br />Inspiration can dome from anywhere, including other designer's portfolios online, a poster, a picture, or a person. Be ready to take advantage when inspiration strikes.</p> <p><strong>Listen to music.</strong> <br />This can be a great tool to use, when used properly.  Don't listen to music that will distract you, instead find something that keeps you focused.  Many creative professionals claim that fast paced music keeps them working at maximum productivity.</p> <p> </p>

<p><strong>FF: Would you introduce yourself to our readers and tell us how got involved with 3D/Illustration and character design?</strong></p> <p>Alessandro: My name is Alessandro Baldasseroni and I'm currently working as lead character artist at<strong>  <a href="http://www.blur.com/">Blur Studios</a>  </strong>in Los Angeles. I started to do 3D more than 10 years ago, but my professional involvement with characters coincided with my work at <strong>Blur</strong> in 2007. Before that I was 3D modeling for a small game developer in Milan, mainly working on environments and occasionally some vehicles and props. <br /> <br /> At that time I was spending a lot of my spare time working on personal projects, mainly 3D illustrations and some of them were based off high poly characters. Most of them were well received on the 3D forums and by the online communities. This allowed me to be contacted by a few companies, to do some freelance for <strong>Flagship Studios</strong>, <strong><a href="/blog/feeds/latest/www.massiveblack.com/">Massive Black</a></strong> and later on <strong><a href="http://www.blur.com/">Blur</a></strong>. In 2006, <strong><a href="http://www.blur.com/">Blur</a></strong> offered me a full time position as a character artist, they did all the paperwork and a few months later I relocated from Milan to Venice beach.</p> <p><strong><img alt="" src="http://www.eklettica.com/pictures/illustrations_album/dd1600_rol.jpg" width="617" /><br /> <br /> FF: For those who are following in similar paths, walk us through your favorite tools and your give us some insight into your artistic process.</strong></p> <p>Alessandro: My favorite tools are basically the ones I use every day in my work pipeline, <strong>3D Studio Max</strong> for poly modeling, <strong>Zbrush</strong> for high res sculpting and <strong>Photoshop</strong> for my textures. Concepts come in various forms, sometimes from the client in the form of a 3D (low-res,) a hi-res game models, other times (the one I prefer) as a 2D painting or drawing. <br /> <br /> My goal is to make it look better, while preserving the main spirit of the character. In my experience the best way to achieve this, assuming we are working on a good concept, is to literally try to trace the silhouette in 3D and to lock down the main proportions... then work on details: Make a render, bring it in <strong>Photoshop</strong>, and compare it. So as you can imagine design is limited, but being an extremely accurate interpreter is crucial.</p> <p> <br /> <strong>FF: What project(s) have you *really* enjoyed working on?</strong></p> <p>Alessandro: There are so many honestly but I remember I was really into the <strong>Halo Wars</strong> cinematic by <strong> Blur</strong>. I had the chance to work with such an iconic character (Halo Masterchief) and it turned out really nice. Also working on the cinematics for Star Wars: The Old Republic was pretty [fun and] challenging. I worked on Darth Malgus, the main villain. <br /> <br /> Another project I enjoyed working on was <strong>Franky</strong>, the little sidekick partner of <strong>The Goon</strong>, for the movie pitch that <strong>Blur</strong> developed and presented at <strong>Comicon</strong> in San Diego. That one was really challenging because the character had never been transposed in 3D before. I think we did a pretty good job maintaining the look and spirit of the original comic by <strong>David Powell</strong>.</p> <p><strong>FF: Do you have a favorite studio (to work with)?</strong></p> <p>Alessandro: Blur. I am partial I guess, but all in all it's a great company to work for :)</p> <p><strong>FF: How about a memorable development story?</strong></p> <p>Alessandro: I remember one specific episode which happened when I was working for <strong><a href="/blog/feeds/latest/www.massiveblack.com/">Massive Black</a></strong> as a freelancer from Italy. I did a 3D character, fully modeled and textured for a marketing illustration and delivered it in T -pose . Some people at <strong><a href="/blog/feeds/latest/www.massiveblack.com/">Massive Black</a></strong> were in charge of posing it, lighting it and composing the final illustration. I took the chance to work on it by myself, just for fun, even if it was not requested. Surprisingly when I decided to show my final illustration to them, just out of curiosity, for feedback, they fell *so* in love with what I did that they decided to hire me on the spot.</p> <p><strong><img alt="" src="http://www.eklettica.com/pictures/vehicles/ducati.jpg" width="617" /><br /> <br /> FF: Given the choice, would you prefer to create characters or vehicles?</strong></p> <p>Alessandro: I'd say characters for the simple fact that I still consider it very challenging. The range of possibilities and improvement when it comes to the realism of 3D characters is still huge compared to vehicles. I still struggle a lot doing characters. That said I wouldn't mind a chance to "chill out" on some vehicles design from time to time :)</p> <p><strong>FF: What are the challenges?</strong></p> <p>Alessandro: I guess they both require a high level of realism nowadays. Vehicles, hard surface modeling require a great deal of precision... it can be very tedious. Modeling characters requires more flawless executions and a whole multitude of variables come into play that can detract from realism: animation, skin shaders, deformations (rigging), facial animation, to name a few. If the goal is to achieve Photorealism, any flaw in any of these areas pushes back the model into an "uncanny valley." Bringing characters to life requires an extra level of effort to infuse "personality" into them.</p> <p><strong>FF: Can you share with us your inspiration(s) to become an artist and whose work you follow?</strong></p> <p>Alessandro: I was inspired to start 3D as many of my generation by the amazing visual effects of cult movies from the 70s and 80s, like Tron, Aliens, & Terminator. Keep in mind that CGI and visual effects in these movies were not to today's standards. Now that I'm doing CG for a living I'm way more interested and motivated to look back at traditional works and 2D artwork. <br /> <br /> I love illustration and paintings and whenever I have the chance I buy books like Spectrum, illustration anthologies and artwork compilations of my all time favorite artists: Frazetta, Catehrine Jeffrey Jones, Rojo, Vallejo, Ashely woods, Justine Sweet to name a few. Also the master painter and sculptors from the past are a great source of inspiration.</p> <p><strong>FF: What upcoming projects can we look forward to seeing your work in?</strong></p> <p>Alessandro: I cant really mention the project I'm working on at Blur because they are under NDA but I'm working for sure on a few pieces of personal illustrations. Check out my <a href="/alessandobaldasseroni/">PAD</a> once it's up.</p> <p><strong>FF: What advice would you bestow on would-be 3D illustrators and character designers?</strong></p> <p>Alessandro: Work a lot of hours on your personal pieces; stay passionate; don't be afraid to compare yourself to the best out there; if you love what you do don't let anyone push you back; there are no masters by birth out there, just people at different stages of a common path. Listen to critiques but don't be influenced too much by that. Talent (believe me or not) can be cultivated, if supported by great motivation and will.</p> <p><strong>Visit Alessandro's PAD:<a href="/alessandrobaldasseroni"> /alessandrobaldasseroni/</a></strong></p> <p> </p>

<p>Many people are confused when asked to differentiate between graphic designers and web developers, but there are significant differences between these types of creative professionals. Sure, they both deal with digital manipulation, and will likely both have online portfolios on display, but the professions require various skills and education.<br /><br />One primary difference is that of the target. Graphic designers are considered artists, and looking at a few design portfolios will likely exemplify this characterization. Manipulating images, pixels, and vectors requires an artistic eye, and the most successful are those that can be imaginative with colors and type.<br /><br />Web developers, on the other hand, work primarily with codes. They are more mathematically minded, and focus on functionality and accessibility as opposed to visual stimulation alone. While the online portfolio of a web developer may appear quite artistic, the images displayed are usually made by a graphic designer. The web developers work can be seen in the layout of a page, and the special features that make that page unique.<br /><br />Unfortunately, graphic designers and web developers tend to butt heads when working on a project together. The differences in their work can cause conflict for a number of reasons. One common issue is the graphic designers tend to finish their work faster than developers, leaving impatience and boredom for the quicker party.<br /><br />Also, each party will likely have opinions about what the other should be doing. The two fields are similar in many ways, even as they are incredibly different. This fact causes graphic designers to try and be involved in the development process, and vice versa, as each type of work can greatly affect the other.<br /><br />Despite the differences between these creative professionals, when they work together they can produce magnificent final products.</p> <p>Art by: <a href="/andrezzavantini/">Andrezza Vantini</a></p>

<p>Our friends at <a href="http://ff.fildry.com/chinadesignhub">China Design Hub</a> (CDH) have been covering original design and art from China for a few months now and have shared with us a couple of inspiring new artists. The blog, that features art from China, Taiwan and Hong Kong, has been showcasing different creative industries from industrial and architecture to interior and fashion. Their goal is simply to shake off the negative light and biased view toward Chinese Design. Here are 3 talented artists that caught our attention.</p> <p><strong><a href="http://ff.fildry.com/sallyzou">Sally Zou</a></strong><br /> Sally is a Shanghainese born in 1986 and started picking up art, design and advertising after displaying a big interest in the art field since a child. After working at the advertising agency McCann-Erickson, she joined W+K Shanghai as an intern in 2006 to participate in numerous design projects and visual productions. Sally officially became Wieden+Kennedy Shanghai’s graphic designer and digital artist in 2007, and went on to work on visual works for Nike, Converse and Umbro. One of the projects she worked on, “W+K BOOK III”, won a merit at One Show 2009. Sally is also a member of the design collective- MMRB and has been working on several art collaborations, and increasing her presence in the design industry as well by emerging 3rd place in the Cut & Paste competition held in Shanghai. Recently, she was the only Chinese female individual to be selected by Yen magazine, Australia’s no.1 independent magazine for women as one of the top 100 female artists in 2009. <strong><br />Visit Sally at China Design Hub: <a href="http://ff.fildry.com/sallyzou">http://ff.fildry.com/sallyzou</a></strong></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/01.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/high1.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/airmax_lebron_vii_a01.jpg" width="617" /></p> <p><strong>Feng Haoyu</strong><br /> The original design lasts for a reason. People looks at the same object over time and gives it different meanings. A polka dot pattern has its origin, the same applies to any design, product and object. This is a project to find the origin of design, product and object,to discover their meaning in different time period. and to find new interpretations of original design and object. <strong><br />Visit Feng at China Design Hub: <a href="http://ff.fildry.com/HGy8H9">http://ff.fildry.com/HGy8H9 </a></strong></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/origin_1.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/origin_7.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/origin_6.jpg" width="617" /></p> <p><strong><a href="http://ff.fildry.com/nodyoung">Nod Young</a></strong><br /> Nod Young is a visual artist specializing in digital design and visual arts, whose unique style and extraordinary insight have been well recognized. In his works, Nod mixes Chinese cultures with various elements, avant garde and traditional, always trying to break down the boundaries. As an artist, his works have been widely exhibited around the globe, from the UK to Spain, Finland to Singapore, the US to South Africa. Nod hopes to bring changes to life, through art and creativity that are able to influence the world and enrich people’s sensations. Nod has also gained commercial success and worked with many international clients, including NIKE, Adidas, Coca Cola, McDonald’s, Nokia, Microsoft, Mercedes, Li Ning, FIAT, Green Peace. He is also actively involved in a lot of art-related projects as an independent designer, and is planning to publish a portfolio book together with Tsinghua University Press at the summer of 2012. <strong><br />Visit Nod at China Design Hub: <a href="http://ff.fildry.com/nodyoung">http://ff.fildry.com/nodyoung</a></strong></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/aNew-Wave-_01_600.jpg" width="617" /></p> <p><img alt="" height="617" src="http://chinadesignhub.com/wp-content/uploads/2012/03/01_Run_by_Nod.jpg" width="617" /></p> <p><img alt="" src="http://chinadesignhub.com/wp-content/uploads/2012/03/Nod-Young-@-Nike-2_600.jpg" width="617" /></p> <p><strong> </strong></p>

<p><strong>The Benefits of Online Portfolios</strong></p> <p>There are many advantages to developing an online portfolio, including convenience, diversity, and affordability.  When presenting a portfolio, it is important to be as efficient as possible in order to both keep prospective employers interested, as well as to give yourself the best opportunity to succeed.</p> <p>Many creative professionals prefer online portfolios because of how convenient they are to create.  Instead of endless time spent printing and organizing a hand held portfolio, you could spend all of your time designing it into something truly unique before the simple process of uploading your work onto the internet.</p> <p>Updating your portfolio online is also much more convenient with this method.  If you want to slightly change a project, you can do so simply by re-uploading it as opposed to worrying about reprinting.  It is much easier to deal with problems that arise when working with digital files as opposed to hard copies.</p> <p>Printing and reprinting costs can add up quickly, not to mention the costs associated with additional portfolio supplies.  This fact makes online portfolios much more affordable and cost effective than their physical counterparts.</p> <p>Another convenience of an online portfolio is that you can easily include works from different professional fields.  Perhaps your portfolio combines painting, photography, and graphic design, all of which would be very hard to display in a single portfolio.  Online portfolios allow more diversity because there is not only more space available, but because everything can be presented on screen in a clean and organized fashion. This allows you to upload everything you want, while viewers sort out what they want to see.</p> <p>Creating a portfolio on the web can also impress viewers with your digital skills.  Creating and maintaining a web portfolio presents many opportunities to show off HTML, Flash, or Java expertise, as well as proving your ability to work using an online platform.  Many online portfolios even include an extensive resume and history of education, making it easy for employers to get all the information they need in a single convenient location!</p> <p style="text-align: center;"><a href="/CptDooDlez"><img alt="CptDooDlez" src="/cache/pad_portfolio_thumbs/1331193843.04_detail_image.jpg" width="635" /></a><br /> From <a href="/CptDooDlez">Kevin Andersson</a> Filter Foundry PAD (online portfolio) <br /> <br /></p> <p><strong>Creative Supply and Demand</strong></p> <p>While being an artist or a creative professional may have been considered a risky move at one point, the growing need for design and creative services has been apparent over the last few years.  Visual professionals, good ones at least, used to be few and far between, but recent trends suggest that the rules of supply and demand are taking their toll on the industry.</p> <p>Creative professionals are graduating in bigger and bigger classes as the years go by, creating a huge pool of qualified potentials making a grab for available jobs.  Design portfolios are being [e]mailed to advertising and marketing firms on a daily basis as people hope to turn their creative dreams into reality.</p> <p>The creative supply is there, but the problem is that as universities produce more designers, there is less demand for design services.  The job market is getting increasingly more competitive, and many employers and hiring managers have noticed a shift in the quality of design portfolios.</p> <p>There has been a noticeable increase in mimic designers, who lack creative depth but are very good at manipulating existing popular designs.  Trade schools are even providing creative programs now, meaning that the level of experience, education, and passion that used to characterize art students is slowly being dissolved.</p> <p>Upon viewing portfolios it is difficult for companies to accurately assess the talents of the applicant.  Because they are being swamped with online portfolios, as well as physical copies, it is getting harder to find real value when sifting through it all. Similarly, the value of a designer to the hiring company is getting confused as companies struggle to use their designers to their full advantage.  Many people inaccurately think that design services consist of a logo and a pretty poster, but that is far from being true especially as the industry continues to expand.</p> <p>The future of design professionals, especially those graduating in the near future, is cloudy.  The relationship between designer and hiring company is facing a lot of changes as supply and demand continue to take their toll.<br /> <br /> <a href="/Casiana"><img alt="Casiana" src="/cache/pad_portfolio_thumbs/1320570181.68_detail_image.jpg" width="635" /></a><br /> From <a href="/Casiana">Petrovan Casiana</a> Filter Foundry PAD (online portfolio)</p> <p><strong>Common Mistakes When Putting Together a Design Portfolio</strong></p> <p>Many creative professionals don't give themselves the opportunity to shine because they make too many mistakes when putting together their portfolios.  This article will discuss a few key tips to remember in order to create successful and effective design portfolios.</p> <blockquote> <p><strong>First</strong>, don't use outdated materials.  Unless it is a really high-profile project, it's better to show your recent work.  A good rule of thumb is to use assignments created within the last three years unless you have something older that is incredibly relevant to a project you’re after.</p> <p><strong>Second</strong>, an online portfolio is a great thing to have, but many employers will want something they can hold in their hands.  In order to meet the demands of all types, it is best to provide the option of both types of design portfolios.  Also, bring a sample that you can leave behind when you go on your interview to give the company something to remember you by.</p> <p><strong>Another common mistake</strong> is not tailoring the portfolio to the needs of the client. Customize your portfolio online and in print in order to engage the hiring manager and show that you have done your research. Also remember that when you build an online portfolio you will not want to turn off viewers with long loading times.  Design portfolios should be impressive, but not require so much space that no one sticks around to view them.</p> <p><strong>The most important thing</strong> to remember is to keep your portfolio organized.  No one wants to look at a sloppy book, or a sloppy web page.  Printed copies should look fresh, and if your portfolio contains bulky items be sure to carry them separately.  Don't let a few items compromise your whole portfolio.</p> </blockquote> <p>Keep these things in mind and it will be a breeze to create effective design portfolios.  The competition in this industry is getting fiercer as every graduation day passes, so it is often necessary to go the extra mile to help yourself stand out in the crowd. </p> <p style="text-align: center;"><a href="/pads/"><img alt="Pads" border="1" height="316" src="http://filterfoundry-media.s3.amazonaws.com/blog_images/Article01_FF_Screencap_Pads.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="635" /></a> <a href="/pads/">Filter Foundry Featured PADs </a></p> <p><strong>Building a <a href="/pads/">Free Portfolio</a></strong></p> <p>In the current economy, many people are struggling to find work.  It can be even more difficult when applying for a job requires putting together an expensive portfolio, as is the case for many creative professionals.  Lucky for them (and you!), however, there are many ways to go about building a <a href="/pads/">free portfolio</a>.</p> <p>The best way to create a <a href="/pads/">free portfolio</a> is by exploring all of the various ways to make a portfolio online.  Unlike a printing shop, the internet’s options are available for free.  Not only that, but an online portfolio is incredibly convenient because it can be viewed by anyone at any time. There are a number of online methods that will allow you to build a <a href="/pads/">free portfolio</a>.  The first is by going through a host site.  Many web service providers allow others to create sites within their server for free, and many even specialize in building an online portfolio.</p> <p>These sites also provide easy upload services, which will allow you to organize your work neatly.  They also provide basic layout and color spread options, while also offering you the opportunity to customize the layout to your liking.  Those with expertise in HTML or Java applications may prefer to use their own design, especially if they want to market these services.</p> <p>There are many benefits to creating a <a href="/pads/">free portfolio</a> this way because it will introduce you to a whole network of creative professionals.  Many of these sites allow users to interact with each other, offering feedback or advice on how to enhance your portfolio online. In addition, some even offer job listings so that you can put your <a href="/pads/">free portfolio</a> to immediate use!  There can be many benefits to investing money into a portfolio, but there are many effective strategies you can take advantage of when this isn't an option.</p>

<p><strong>FF: Victor, tell us a little bit about your photography and your art.</strong><br /> <br /> Victor: I’m a 36 year old Photo Artist, from Barcelona. My college education was in the School of Architecture, as that was supposed to be my profession.<br /> However, and due to the fact that since early years of my life there was always a computer at home, in particular, because of the job of my father and, in combination with that fact that most of the times, in my childhood, I enjoyed playing alone, using my imagination, I started to get in touch with several kinds of rudimentary CAD packages, which for me, where the best extension of my hand-made drawings and sketches.<br /> With time, I developed some skills in Computer Graphics but just for my own fun. In the university years, I found out that I had already developed some valuable skills for architects to communicate their projects so I began to accept commissioned works from my school teachers, who with time, became my permanent customers.<br /> Being considered and recognized professionally was definitely a good thing, but not good enough as a very important part of me was totally misused in my commissioned projects, which was my imagination. That is why I decided to quit 15 years experience of freelance works, as well as a long and stable list of customers and move to a totally unexpected and uncertain future within the world of art.</p> <p><img alt="" height="495" src="http://victorenrich.com/wp-content/uploads/037_027MANUELA_01_BOXMETA.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="495" /></p> <p> </p> <p><strong>FF: How did you get started with photo-realistic fantasy architecture?</strong><br /> <br /> Victor: Moving into art is not such an easy step, you need something to say, an inspiring source and...at least one technique or way of expression. I somehow, found out that I had the 3 of them...so, in a way, my 15 years in freelancing, in the end served me to dominate a tool, with which do whatever I would like to.<br /> So the step from commissioned to creative works was not difficult in terms of know-how... It was more difficult in terms of accepting a new economical situation, or overcoming the fear of bad critics or even worse, total anonymity.<br /> At first, between project and project, some time was dedicated to art, those were tough times as, after long days in front of the computer for a customer’s deadline, I only had energy to leave the office and take some rest...but I stayed.<br /> Then, with time, I started to dedicate more and more time to creative works until the day I decided to not accept any more commissioned works.<br /> The whole transformation has taken place in about 5 years.</p> <p><strong>FF: Would you walk us through a typical project from location scouting to final render?<br /> </strong><br /> Victor: Any project starts with a living experience. A conversation, a commercial, a trip, a dinner with friends, a moment of solitude...anything is welcome.<br /> I must admit that there’s a little journalist in me, so I tend to introduce myself into situations that normal people would reject</p> <ul> To give you an example:<br /> I spent the last 2 years of my life in Tel Aviv, Israel...surrounded by Jews. I community that, the more I know them, the more I love them<br /> For several circumstances I was forced to leave the country, I got deported, went to jail and in jail I met incredible interesting people who I interview for over 5 days. I met false prophets living in caves, Colombian refugees escaping death from the Narco, Nigerian priests performing out loud Afro-Christian ceremonies in our 8 sq meter cell 4 times a day...and so on.<br /> </ul> <p>Now I live in Munich, Germany, the former cradle of the Nazi movement and I’m sharing flat with a religious Muslim husband born in the Gaza strip...I bet most of my Jewish friends would refuse me for that...or maybe not.<br /> So, without a living experience, at least for me, Art is not possible.<br /> The rest is just a kind of routine process of computers, photography, city walks etc...</p> <p> </p> <p><strong><img alt="" src="http://victorenrich.com/wp-content/uploads/036_026DUCKS_01_BOXMETA.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="495" /><br /> <br /> FF: What software have you used and what's the advantages it bring to the table?</strong><br /> <br /> Victor: I must admit that, with my age, I’m a bit old fashioned in terms of software choices. I use mainly <a href="/mudbox/">Autodesk</a> software, because I feel comfortable with them, I know all the bugs and I can perform fast. These packages are AUTOCAD and 3DSTUDIO MAX with VRAY. <br /> As a 3D visualizer, I must say that VRAY changed my life because the Chaos Group technology implemented a big leap into Global Illumination.<br /> I also use Rhinoceros when it’s time to dig deeper into weird shapes as we all know that AUTOCAD has its limitations as a 2D-born package.</p> <p><strong>FF: When do you know a certain site is “prime” for 3D building?</strong><br /> <br /> Victor: Generally I shoot tons of pictures with my camera, in order to have a vast range of choice. Some pictures don’t [turn out] as good as I want, or the central subject is not clear enough for me. Sometimes, instead, it’s totally clear for me that I want to shoot a building so I start to investigate ways to get a nice shot, specially from unusual points of view. I contact people, [make] some phone calls, or if necessary I sneek into [buildings and construction sites], so there’s a bit of adrenaline in it...which I love.<br /> So, in the end, it’s a combination of facts that make a picture be finally selected to the next stage...it’s like a casting somehow.<br /> This selection is very important as the following 3D tasks applied on it will take at least one month...I can’t permit myself to throw away a month work  (it has already happened to me ...)</p> <p><strong><img alt="" src="http://victorenrich.com/wp-content/uploads/032_022TUNA_01_BOXMETA.jpg" style="display: block; margin-left: auto; margin-right: auto;" width="495" /><br /> <br /> FF: Do you work with other architects?</strong><br /> <br /> Victor: Not anymore, at least in commissioned projects. I work with them in terms of conversational meetings, discussions or any other subject related to architecture which can be valuable for me to get inspiration.</p> <p><strong>FF: What projects do you have coming up in the near future?</strong><br /> <br /> Victor: Now I’m working on a project that will involve the Munich cathedral. I can’t [disclose] more about it as it will be published exclusively for an important magazine in London.<br /> After this, we'll see...I have several projects that are on the waiting list, some of them based again on Tel Aviv.</p> <p><strong>FF: Who are your influences?</strong><br /> <br /> Victor: Everything influences me. From an old homeless man playing, under a porch, extremely beautiful classical music with his rotten violin but right after peeing in “his” corner behind to an Indian guy I met recently who travels the world by bike spreading his message.<br /> So I must say it’s people. No architecture influences me as is comparable more restricted than what I do for obvious reasons.</p> <p><strong>FF: How does creating art compare to teaching?</strong><br /> <br /> Victor: Teaching first of all is a social act. Doing my pictures is an individual act. In order to keep my insanity under control, both acts must be there. I love teaching, probably more than doing art.</p> <p><strong>FF: Can you give our readers some tips or advice?</strong><br /> <br /> Victor: Well...it’s hard to give advice as I don’t have any big message to say.<br /> I would only try to invite everybody to investigate in his or her own fears and try to overcome them, reaching unexpected limits of self knowledge without forgetting that any single direction we take in life, left or right, has a price to pay...so the first question one should ask himself should be: Am I ready to pay that price?</p> <p><br /> Another thing I would say is: consume less, bring more. Feed the universe.<br /> That idea, thought or dream that you consider silly or stupid is instead the most valuable good you can share with all of us.</p> <p><strong>Victor's Filter Foundry PAD: <a href="/victorenrich/">/victorenrich/</a></strong></p>

<img src="http://www.adweek.com/files/imagecache/node-detail/1126101268_1689911265001_ari-origin06-arc-149-1339712113016.jpgpubid1126101268" /> <p> Six Questions: David Angelo</p>

<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/coke-security-camera.jpg" /> <p> Convenience-store robberies. Suspicious elevator activity. Parking lot holdups. The security-camera footage you generally see on TV doesn't exactly reveal the most flattering side of mankind. The point of a security camera, after all, is to catch the bad guys who did the bad things so that we can all feel more, well, secure. But what about the untold of hours of film that don't capture some shady endeavor? In the incessantly sunny world of Coca-Cola, they're filled with happy people doing good deeds.</p> <p> In a new spot from Coca-Cola Latin America, created by production company Landia, the beverage company plays around with the expectation of what a security camera captures. To the smile-inducing tune of Supertramp's "Give a Little Bit," Coke shows us a series of scenes with wittily misleading captions like "people stealing kisses," "music addicts," "potato chip dealers," "attacks of friendship" and "friendly gangs." From offering to carry a heavy object to saving someone's life to just horsing around (and the requisite "offering a friend your Coke"), it's a list of all the positive interactions happening in the world every day.</p> <p> Like most soft-drink ads, it doesn't necessarily make you want to crack open a cold soda, but the idea is sweet nonetheless. And if searching security cameras for murders and muggings and assaults is more your speed, go ahead and change the channel. Chances are you'll quickly land on a show doing just that.<br /> <br /> <br /> <br /> <strong>CREDITS</strong><br /> Client: Coca-Cola<br /> Producer: Landia<br /> Creative Director: Martin Mercado<br /> Music: Supertramp, "Give a Little Bit"</p>

<img src="http://www.adweek.com/files/imagecache/node-detail/blogs/pointer-pointer-652.jpg" /> <p> <a href="http://www.pointerpointer.com/" target="_blank">Pointer Pointer</a> is an artfully simple and hilarious website that finds your mouse pointer, wherever it is on the screen, and then loads photos of people pointing at it. It's 30 percent creepy and 100 percent more fun than you'd expect. It also has intriguing possibilities for brands looking to navigate through and interact with a glut of crowdsourced images submitted by fans. The site's code was actually developed by Studio Moniker in Amsterdam for a marketing project—a similar site that tracked mouse movements and set off photo flashes in real time to advertise 5 Days Off, an electronic music festival. The studio was surprised when more than 300,000 people visited the site before its official launch. Fans have already made videos and demos explaining the digital trick behind it. So, point your browser toward the Pointer Pointer, and see how much of your day you end up wasting.</p>

<img src="http://www.adweek.com/files/imagecache/node-detail/blogs/royal-caribbean-tony-awards.jpg" /> <p> And now, a word from our sponsor … crammed awkwardly into the middle of the award show you're watching on TV. If you missed the latest mini-infomercial wedged between breathless acceptance speeches, then you weren't among the 6 million or so people watching Sunday night's 66th Tony Awards on CBS. Royal Caribbean slipped a big fat four-minute ad into the program, switching the action from New York's Beacon Theatre to one of its musical cruises, where singer-dancers did a couple of numbers from <em>Hairspray</em>. The marketer paid for the right to shill during the content, though it won't say how much. It's a trend that's on the upswing. Brand integration, especially during events people are likely to watch live, is increasing. Better get used to it, haters, and hope for a shred of relevancy. That the cruise line has a legitimate link to Broadway may not make its product placement less jarring, but it at least makes sense. There's a worse example: Last fall, Jennifer Lopez did a bump-and-grind during the American Music Awards on ABC and inexplicably brought along a Fiat 500. The subcompact car—J. Lo is a paid endorser—got nearly as much airtime as her bum did. Compared to that display, Royal Caribbean's in-show ad was seamless. The biggest sin may have been making us look at Harvey Fierstein in pink swim trunks. Forgivable? Your call.</p> <p> </p>

<img src="http://www.adweek.com/files/imagecache/node-detail/ikea-moving-day-484.jpg" /> <p> Ikea and Leo Burnett in Toronto recently <a href="http://www.effie.org/pressroom/5_23_12" target="_blank">won a Gold Effie</a> for this campaign featuring cardboard posters that folded out into moving boxes. Decorated with slogans like "Fill 'er up!" and "Take this box and stuff it," they were placed in strategic spots around Montreal in time for that city's Moving Day last July 1. Furniture discounts and dinner offers were also part of the program. Ikea says store traffic and sales rose about 14 percent and 25 percent, respectively. That's dandy. Still, I can't help wondering how many homeless people who came across the street-corner displays were moved to think inside the box—and in this precarious economy, how many others might join them soon. More pics after the jump. Via <a href="http://www.psfk.com/2012/06/ikea-moving-box-posters.html" target="_blank">PSFK.</a></p> <!--break--> <p> <img alt="" src="http://feeds2.feedburner.com/files/adfreak/images/ikea-moving-day-2.jpg" style="width: 484px; height: 370px; padding: 20px 0pt 0pt;" /><br /> <br /> <img alt="" src="http://feeds2.feedburner.com/files/adfreak/images/ikea-moving-day-3.jpg" style="width: 484px; height: 363px;" /></p>

<p> The practice of men shaving hair off their faces became de rigueur grooming starting with Alexander the Great—or so many historians agree. Those who don’t can at least agree on this: Shaving has been a tedious ritual that men have pretty much disliked ever since. In the 20th century, numerous inventions emerged as palliatives, including the disposable razor (1904), foam shaving cream (1925) and the electric shaver (1937). By the time the Remington ad on the right appeared in 1963, electric shavers had been popular for a generation. And, as the Gillette ad opposite shows, they’re making quite the comeback.</p> <p> But this pair of ads shows far more than the resurgence of an early 20th century men’s hygiene product. It also illustrates how a brand can turn an obligatory chore into a bona fide status activity simply by adjusting the commodity that’s being sold. “The first ad is all about product reliability,” observed John Parham, president of branding agency Parham Santana. “But the second focuses on the <em>performer</em>.” Is there really much of a difference? Keep reading.</p> <p> In 1939, Remington used the New York World’s Fair to unveil its Close Shaver, a potato-sized device that used tiny electric blades to nip off whiskers—no water, no soap needed. And lo, before the bathroom mirrors of America, a revolution was born. Men called it “dry shaving.” In the coming years, Remington improved its product by adding more blades—two heads, then four. Finally, in 1960, it went cordless with a model called the Lektronic.</p> <p> But while the ad on this page shows Lektronic’s product attributes well enough, that’s <em>all</em> it shows: five break-apart schematics and 175 words devoted to mechanical components like comb rollers and rechargeable energy cells. Yawn. “That Remington shaver is about as sexy as your grandmother’s toaster,” Parham said, adding that the Mt. Rushmore-sized chin is nerdier still. “By 1962, Andy Warhol had already taught us that you don’t exist unless you’re somebody. So why do they have Mr. Chin—an <em>anonymous</em> chin—in here?” The ad, Parham said, isn’t a failure so much as unnecessary self-restriction. Remington’s sole focus on mechanical performance not only confines the consumer’s thinking to gears and sprockets, but it also suggests that facial hair is a categorically bad thing that requires complete expunging.</p> <p> In 49 more years, competitor Gillette would demonstrate how limited such thinking was. Gillette had already made its name in wet shaving, but when the brand decided to introduce an electric shaver earlier this year, its marketers made a critical decision. Instead of advertising the new shaver, they’d advertise its ability to create a new <em>you</em>. By spotlighting a celebrity who’s proud of his goatee, the “<a href="http://www.gillette.com/en/us/entertainment/masters-of-style.aspx" target="_blank">Masters of Style</a>” ad frees the electric shaver from its traditional role as a facial weed whacker and celebrates the ritual of “manscaping” instead: how sculpting your facial hair infuses you with swagger and sex appeal. As Parham puts it: “When I see this ad, I think, ‘<em>I</em> can become a master of style, too! I can <em>be</em> somebody!’”</p> <p> Now, did anyone look at Mr. Chin in 1963 and think that? Doubt it.<br /> <br /> <img alt="" src="http://feeds2.feedburner.com/files/persp-razor-01-2012.jpg" style="width: 652px; height: 537px;" /><br /> <img alt="" src="http://feeds2.feedburner.com/files/persp-razor-02-2012.jpg" /></p>

<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/portrait-duncan-channan-01-2012.jpg" /> <p> <img alt="" src="http://feeds2.feedburner.com/files/uploads/SPACER-652.gif" style="width: 10px; height: 1px;" /><br /> <u><strong>Specs</strong></u><br /> <strong>Who</strong> (l. to r.) Partners Andy Berkenfield, general manager; Parker Channon, executive creative director; Robert Duncan, executive creative director<br /> <strong>What</strong> Design, digital and advertising agency<br /> <strong>Where</strong> Agency’s penthouse lounge above San Francisco offices</p> <p> Before starting his <a href="http://www.duncanchannon.com/" target="_blank">namesake agency</a> in a Northern California garage 22 years ago, Robert Duncan was a rock ‘n’ roll writer for magazines like <em>Rolling Stone</em>, <em>Life</em> and <em>Creem</em>, where he was managing editor. That journalistic approach and love of storytelling informs the work his agency does now for clients like Ancestry.com, StubHub, Ritz-Carlton and Hard Rock. The ecd still keeps his hand in the music business: D/C has a musical offshoot called Tip Records, named for the agency’s top-floor “speakeasy,” which releases work from people like experimental musician and performance artist Gary Wilson.</p>

<p> Macy’s is expected to complete the review of its U.S. media business by September, sources said. The retailer, which spent nearly $775 million on measured media in 2011 according to Nielsen, has been working with GroupM’s MEC media unit since 2007.</p> <p> Macy’s has issued a formal request-for-proposals in a review in which MEC is participating. Given the size of the account and the conflict possibilities involved, it is believed the RFPs have not been widely distributed. It could not immediately be determined which other media agencies have been invited into the review. </p> <p> <a href="http://www.adweek.com/news/advertising/macys-media-moves-mec-87660" target="_blank">MEC picked up the business</a> without a review from Publicis Groupe’s Starcom unit in January 2007.  Corporate WPP sibling JWT, which landed <a href="http://www.adweek.com/news/advertising/jwt-scores-fall-retail-push-88468" target="_blank">Macy’s creative responsibilities in 2006</a>, is not affected by the media search.</p> <p> Joanne Davis Consulting is working on the review.</p>

<img src="http://www.adweek.com/files/imagecache/node-detail/news_article/nba-social-media-hed-2012.jpg" /> <p> The Miami Heat can’t win anything. OK, the NBA Finals are far from over, with the <a href="http://scores.espn.go.com/nba/recap?gameId=320612025" target="_blank">Oklahoma City Thunder only leading the Heat one game to none</a>, but the LeBrons have already come in runner-up as the league’s second-best social media team, according to social media benchmarking company Unmetric. What team took the top spot? The Los Angeles Lakers, who scored a 70 versus the Heat’s 65 on Unmetric’s scale, which claims to weighs 24 different data points regarding a team’s Facebook and Twitter presences.</p> <p> While the Heat’s overall score is only second-best, they beat out all comers in fan engagement, which is based on the number of likes, comments, shares and projected impressions each team’s Facebook post receives. In that arena, the Heat notched a 77 versus the Lakers’ 51. When it came to the percentage of fans who like, comment or share, the Heat tied with that other L.A. team, the Clippers, at 7.7 percent; the Thunder followed at 4.0 percent, and the Lakers trailed at 2.1 percent.</p> <p> But while the Heat and Thunder are known to be among the fastest teams in the league, they’re a bit sluggish when it comes to Twitter. In fact, the Thunder averaged two hours and 39 minutes in terms of the average amount of time it takes to respond to followers on Twitter. Meanwhile the old-timey San Antonio Spurs averaged 10 minutes, and the Denver Nuggets topped all playoff teams with five-minute average response time.</p> <p> Unmetric also took a look at teams’ social content strategies. While posts about game results garnered a 74 engagement score versus the 41 awarded news about a franchise, 26 percent of a team’s posts fit in the latter category while game results only account for half that at 13 percent.</p> <p> Click <a href="http://blog.unmetric.com/2012/06/who-wins-the-nba-social-media-finals/" target="_blank">here</a> for the full report.</p>

<img src="http://www.adweek.com/files/imagecache/node-detail/blogs/deutsch-cannes.jpg" /> <p> Each year, one-third of ad-agency workers move to new jobs, according to research by Deutsch in Los Angeles. How can the industry slow this organ-grinding churn? The agency has some ideas—and will present them <a href="http://www.canneslions.com/the_festival/festival_programme/event.cfm?event_id=81" target="_blank">at a forum in Cannes next week.</a> To promote the session, Deutsch shot the amusing videos below, capturing those indelible agency moments when creatives, account people and producers—their souls crushed beyond repair by the morons in their midst—curse everyone and everything that exists. Surprisingly therapeutic if you're having an annoying day. Two more videos after the jump.</p> <p> </p> <!--break--> <p> <br /> <br /> </p>

Sometimes the fan art is better than the real thing, as we discovered with David Watson's own take on football tournament posters for Euro 2012

London illustrator Lizzie Mary Cullen is set to decorate a classic British telephone box over a 24 hour period in Covent Garden, supporting the charity Childline

The annual Vimeo awards took place in New York last night - and three UK studios were lucky enough to be among the prize winners

New York-based digital artist Takeshi is the subject of this month's TEN campaign by Fotolia - an ongoing project that sees it release the original source files for an image in its stock image library

It's our inspirational collection that just keeps on growing. Jim McCauley's going to need a bigger hard disk

Worn out from all the Jubilation? Get yourself some refreshing design inspiration! Jim McCauley has loads of it for you

Popular, bold and passionate about design, Form has turned 21. They're celebrating with an exhibition in Shoreditch and launching a retrospective of their work

Sagmeister Inc. relaunches as Sagmeister & Walsh

The Spanish illustrator discusses demanding visuals, invisible grids and the benefits of charity work at OFFF 2012...

You'll need scissors, glue and a grown-up to help for today's slightly papercrafty collection, stuck together by Jim McCauley