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the phase collective’s third offering of client-free creativity spring 2007

about phase03play Ahhhh, Phase03. Finally. You’d think a theme like ‘Play’ would just spill out onto the page all by itself. Unfortunately though, play time is some of the most difficult time to come by. All that aside – here it is, and we think you’re going to enjoy this third release from us dudes at the Phase Collective. We’ve pulled together a diverse selection of photographers, designers, and illustrators with some cool stuff to show – and the work within these digital pages is all refreshingly client-free. Check it on out, drop your favorite Phase03 contributors an email, and then go forth to search out your own creative play time at all costs. Phase Magazine is the quarterly(ish) digital publication of the Phase Collective, produced in PDF format, and downloaded worldwide by people like you. We are designers with addictions to client-free creativity, and we do our best to curate an interesting and imaginative batch of work for you with each new Phase Collective effort. Visit us online at to find out more, and we very much welcome your thoughts and feedback. Thanks and enjoy! – The Phase Collective

Phase03 cover and info design: Gabe Ruane | Phase Collective Additional Phase03 design: Brett Jorgensen | Phase Collective

All written and visual content Copyright ©2007 Phase Magazine and the Phase03 contributors. Phase Magazine is intended for free and unlimited distribution and sharing in PDF format only. Please contact us with inquires regarding copyright-protected content, reproduction restrictions, and so on at

inside phase03play

avi cornfeld | panoramas bryce ward | photography dose-productions | design + illustration eric shaw | drawings jairo baru | circles gabe ruane | typografĂ?a marcos cabrera, la tragedia | illustration tyler lang | design nic nichols | photography

avi cornfeld | panoramas

says phase: Panoramania from Israel; textures, cityscapes, slices of life, and completely people-free.

Avi Cornfeld panoramas


Avi Cornfeld is a photographer in Jerusalem, Israel. View more of his work at

bryce ward | photography

says phase: Abstract imagery, in series format; light, warmth, and ravens. Lots of ravens.

Bryce Ward Approach

As a photographer, defined as one who practices photography, I choose to view the world through a lens. The lens I refer to is an object made up of glass, metal and plastic all precisely placed together to capture or create an image on film or as a digital file. Unlike words or other mediums a picture or digital capture could have only been taken in a very specific place at very precise moment. The photographer is tied to that moment.

That moment becomes the photographers view for that place and time. I suppose you become a photographer when you start to consider how or where an image or file will be presented or viewed. The process of making a picture and the decision of how or where it will be viewed complete a process. At that completion the hopes and dreams of your restless nights, the daydreams of tomorrow and yesterday, all rush together.

SE R I E S :

One Last Possibility

SE R I E S :

13 New Horizons

SE R I E S :

Communication Errors


One Last Possibility


13 New Horizons


Communication Errors

dose-productions | design + illustration

says phase: Imaginative, rich, and elaborate design and illustration from the Dose-Productions creative duo in France.

DOSE-productions is the working name of graphic artists Sam and Joolz, one English and one French, who decided to bring together their combined creativity and their professional experience, gained with other agencies and who work in the fields of graphic design & visual communication, music videos, motion graphics, logos, web design, DVD authoring, 3D animations etc.


Established in the south of France since 1999, DOSE-productions collaborates with anyone from local bands and associations to some world famous bands, labels and artists in the UK, France and USA, creating visuals for every possible media. An equal passion for music, graphic design, multimedia and art is our driving force.

says phase: You just have to see this stuff. And there’s lots more online. Amazingly detailed lines on paper from Eric Shaw.

eric shaw | drawings


w a h S Eric



h young dio station wit ra to n io at st o, ed the little du eled from radio at av d o tr m er m th o co m ac s is H station ever England, wher her back. Some ew to N ed r p ve p o ra l st al c e l ri ic E project her vo “well thats unti ) to h x o as F -d a n ci u ri e( at ic gelic vo find allowing P draw,” one can rs sought her an to ea s’ w o o h id s u g w o n co k is d son he eep eyes ved. Liam Atkin pley Square. K o C d n u o ar s y cti little Liam arri le of the divine ca up in all the al g ce n ra g ru e sp th s g y b ta l his on a hil father, a OY. Conceived maturely. His re p s th n o m peeled for DEC even rung into life el button, Eric sp

f t river valley (o cu ti ec n n o C e deep in th e hit a r, who digs out when his spad , to ay ec d ll e n co o le g tt in o b as work on bone . Senior Shaw w (un-dash) a her fe li s c’ ri E ce ed western mass) , they will noti that transform ly ct se je o b o cl t an ar , ct cs je ri thin ob t river piece of E the Connecticu er examines a g ew in vi w o y ll o an F If ! ! t, en pen jected by the p eld, Connecticu fi ro n p E l n ai o et p d u e e n m fi the was ne will co eme. Here, Eric it’s tributary, o M d to an th u a, so ap P er h furt at he is today. , Eric’s Mexican h za w iz p to in ig b ed e at th f in home o he germ e couch, where th th ea en b d place c refined in darkness, Eri ed p lo ve en to , ch eath the cou en Eric returned h w is is h T e. n While deep ben f the li re by the and mastery o torted even mo is d as w d a in his color theory m eks to establish tts, where his se se u aw ch h S sa c as ri M E . Methuen or details u soon! he rest are min hopes to see yo T . e H ry . o d ct in fa m ic s st al pla individu place in every

n, age 12 o s in tk A m Lia

{ some dogs }


see more Eric Shaw stuff online

says phase: Round and layered. Rings and coffee stains. An exploration of tone and composition.

jairo baru | circles

says phase: Japanese packaging, sliced and diced, and a bunch of words too from one of Phase Collective’s own.

gabe ruane | typografĂ?a

typograFĂ­a por Gabe Ruane

I believe in Play. I crave it, although it escapes me most days. I’ve come to understand that to my work, my creativity, my space, my marriage, my frame of mind...everything is more alive asy for us e o s ’s it t ut ss, bu when I can find a way to infuse the element of Play. Think abo reative cla l. c o o e h th c s e r t r a we life out a graphers – r creative . Think ab e u to c o o y la h p t p t u , s o r ts b s fi ns, the ink a igners, arti imaginatio school. Th r this path in u n le O o d l. s We are des id a u ic m t g u real s ma orld in ark that p , and it wa think woof rto y k oodling w n la d a P c il s lose the sp I c a n s w e g t p y thin it. Tha d+no.2 en. M PDFthe closest e e a living at r a e w k , the notepa y t a ll m e a u to needed ughts vis . and far b this small that o u o o d th y e r e u r w o t fo a e e h c b w d du t of w ere fe So I create lore things ility to pro n be a par w a c y it t a a l and our ab . th for P ients sible. I exp ’re lucky e l s w t c d e n l e a t , v ti ou os magic e my unimagina often as p s u a c be as on ective r blame it come here l l o C I ge se e Pha uld no lon tivity, and h t d e I start d, and I co nt-free crea ire of clie was t d l r o w based

I could never introduce into a project at work. I stretch my own boundaries. The results don’t matter because they’re just for me – and occasionally for the Phase Magazine audience when the artwork feels relevant. I needed the Phase Collective to stay sane as a designer, and it’s elving into d m I’ n o s done rea r . e e lf brought back just the right amount of craziness to my creative world. th e s v d r n u e a o , y n me to me g I’ve an entirely it of Play ti e if we’re b invaluable n i e a r a h in t e k m e a ti o in to s huffl Play re. om vince you lar design e time to s dto do s iar subject original fi n u v n o a g c a e h , r a to f ll n o a y t o e s tr ts s r il ju e pe at is to ne (w The benefi this issue nal creativs usually k at a fam ome of th rrent routi r io u s c fo s r g fe u o o in r y it p r i s o your k from a bit of w ission e. Or to lo mming up urned into two a wee b m r s o t’ r a y u th o r h g u in . M dr efo Steal an out everyth rtable er used b s you are w o o r f h T . ) m d a co ev motivate elf un ols I’ve n er, as long ion. s r u o o t y t t at make Or to use oesn’t ma nto inspir i d . e befor y. It really l transform a il new w comfort w is The d

Play is sustainable energy for your creative engines. It populates your portfolio with the kind of work you’re capable of creating, replacing the work you’re stuck doing for your clients. And it possesses the ability to make the professional work and the Play work one and the same if you can transport your personal explorations into the right agency project. * To all you lucky ning, arly le n c , a n l ig s p e ed g, derin ging from ts who valu ke you’re free i n e s li c n d e o d c li acka w what open-min een ally feel p r e s r b y fo s a k g d r r lw d o a n ta ’ s w i e I a t r c yb t no s a aking the barrienr idea tha been colle I didn’t k ue stick, of you luck ground-bre y t, n n g a e in m m n n ig w o s o ir e a th – gl env ’d bastards d to you. Bu ear. I something g with a her, once n creative rk up d e e y o s iv s r e d r w a td n d e a li n r rat ethi In the c ed to for nearly away for this is not o ? d k m r i , o o c w h s e t g s u m I d r fine ge, in ig eno to do you Play, of my bra ashing the t of colla b – t. s n a e s 3 e r st ly p k sor nw se0 frustrating r Pha in the bac oducts and m. Some e collectio o f o S r th or pating d/candy p egan to f . So once i c i t n b t a o idea perfec ese fo Japan when the ne and im o ly exact ing hand-d th some

I decided it was time to sit down and actually do it, I lugged it all out and started to piece together my typographic exploration. I worked off of a typeface called Doubledagger, created and released for free to the world by the Japanese typographer Flat-it (a typeface I fell in en ut ev B . e m love with when laying out the Phase02 spreads for Fallen Fruit). The collage edges are choppy, ely ure to ill aebsolut p t i s the glue warped the cheap paper I used, and I made many many mistakes that would surely make way thant twfram s ce I had in t s a g n h lo t in a curre inute ct, ose, and n way too e y e ir l e d b e d d n v a a i h t my few m your puter. It 2b, clean cial purp e up crea n b m o i e c th e , th in y n 3 e0 take a side of mer dm doesn’t fl s e working o ’ m e s n s a o a o e w o c s ‘l I h e if o s undone y becau ave a Play, it lo in P e, and nd out tl n s e h o e , m b , r e 7 p v e u a h a p ev s. sen 00 of yself to loo ld. will n the sake esting way e in 2 kes sha inside k r o allowed m r r w o er wo th ta om This Play f ork in int en agency ns t ever it you bo s ’ t a i e client-driv h w thoug y agency t it m e, how benefit a h m t sw tim affect hat’ Play s) migh T . Play ur own utine( n o o ro take njoy y f your y m e at’s Please ke-up o h t a So ind. a sh . m w f o o s suit ee h to s ive pur t crea

says phase: It’s twisted. It’s from Barcelona. And we love it.

marcos cabrera, la tragedia | illustration

Marcos Cabrera | La Tragedia | Barcelona www.latragedia .net dog wanna play

play with bird

play with plugs

let’s play

says phase: Concepts, vectors and design make for 8 playful ways to escape boredom.

tyler lang | design

says phase: Strange and wonderful scenes captured on real live film. Beautifully shot by Nic Nichols, presented here in threes.

nic nichols | photography

nic nichols photographer a photographer for over 20 years, nic nichols currently resides in wilmington, delaware.

After being rejected from RISD’s animation program, I chose to attend their photography program instead, as I really wasn’t that good of an animator anyway. After some time at RISD, I moved to Philadelphia to study under Robert Crites, and was introduced to the ‘Diana’ camera, the carmera that Dr. Crites took with him everywhere he went. The images were raw, out of focus, poorly exposed but intense and dramatic. Exactly what we weren’t learning in class. In 1991, just before graduation, Professor John Weiss of the University of Delaware came to speak about a digital imaging program that they wanted to start at the University, and after grabbing my diploma I headed south to Newark, Delaware, one of the most boring towns I have ever seen.

Moving from a great city to a small town was like jumping off a treadmill going full speed- there was nothing to do, nothing to photograph and not really any students who were pushing the boundaries at all. Unmotivated, John Weiss pushed me to discover the powers of Photoshop 2.0, which at the time was about the most powerful imaging program around.. I was quickly hooked and began working part time at Dean Digital Imaging, the only digital firm between NYC and Miami at the time. We would attend class all day, and then spend all night using the equipment at DDI.

Fast forward ten years, and after countless days retouching everything from cars to models to comping endless ads... I reached in the back of my camera bag for that old Diana. Now replaced with a half dozen modified Holga 120’s, I document life, people, time, events and experiences with a little $20 plastic camera. And I wouldn’t have it any other way. All film, no crops, no digital effects, just the pure raw image. The same way I saw it back in 1988 on Robert Crites wall. It just took me almost 20 years to realize that we don’t need fancy filters to create a memorable image: you just need a great image.

what i’m up to now Started in 1996 to both learn web, and get my images out there. Currently the site brings around 50,000 unique visitors a year, from about 80 countries. I update it as much as possible, usually weekly, with projects that I am working on. Current projects include a long term documentary of Easter State Penitentiary in Philadelphia. Over the last 18 months I have shot a dozen times there, and am planning to expand the series to other abandoned prisons. Also have

just started a project on Delaware’s Route 13, which is not only part of my drive to work, but also a hooker and motel infested dump. On the Holga side, I have been touching up the ‘Statues freak me out” series, which is almost ready to go online. I live in Wilmington, Delaware with my fiancé, actress Kristen Hudson, and our super loving American Pitbull Terrier, Harley (who goes to work with me every day…)

The Identity Archives Project connects you with the premier keyword-searchable database of logos and brand identity designs from around the mundo. Logos are searchable by industry and nationality, as well as descriptive, subjective, conceptual, and otherwise design-related keywords. Help make this resource fantástico for your fellow diseñadores by uploading your designs and keywords today...

Uploads and usage of the site are always free, and there’s no need to register. Check it out at:

the phase collective Visit the Phase Collective online at for information on upcoming issues, contribution guidelines, and the rest of it. The Phase Collective and Phase Magazine were established in late 2005 by Gabe Ruane and Brett Jorgensen because it was time for something new. We hope you enjoyed Phase03, and we’re looking forward to bringing you something completely different the next time around. Gabe Ruane | Brett Jorgensen |

Phase Collective #3  

Arte, Diseño

Phase Collective #3  

Arte, Diseño