Logo Project - The geometric shapes are representing individuals depending on each other, to get to the point where there is balance
Our Shrine - Plaster & Wax Oreo
Our Shrine - Oreo Ring
Our Shrine - Hedi Slimane & Oreo - Packaging
Our Shrine - Arranging Oreo
Our Shrine - Trial
Worst Typeface Day Out
Artist!s Book Review
Photoshop double page spread
Red Radish Smell fresh naturally
Not feeling confident
one fresh red radish
wrap it in muslin cloth
twist and squeeze to get juice
soak juice up with cotton pad
apply under your arms
can give you fresh smell all day long and boost your confidence
How to smell fresh naturally from red radish?
3D Worst Typeface Studio Shot
Worst Typeface Destroyed - Lucida Handwriting
Before the 19th century, painting was the art of silence. Painters of antiquity, of the Renaissance, of the 17th and 18th centuries, never envisaged the possibility of rendering s o u n d s , n o i s e s a n d s m e l l s in painting, even when they chose flowers, stormy seas or wild skies as their subjects. In their BOLD revolution, the Impressionists made some confused, hesitant attempts at sounds and noise in their pictures. Before them nothing, absolutely n
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In the Impressionist canvases, sounds and noises are exway that they might pressed in such a thin, f a d e d have been perceived by the eardrum of a deaf man. This is not the place for a detailed account of the principles and experiments of the Impressionists. There is no need to enquire minutely into all the reasons why the Impressionists never succeeded in painting sounds, noises and smells. The painting of sounds, noises and smells rejects: 1. All muted colors, even those obtained directly and without using tricks like patinas and glazes. which are too p a l e and d r o o g. pin 3. Greys, browns and all muddy colors. 4. The use of pure horizontal and vertical lines, and all other
. 5. The right angle, which we consider p a s s l e s s . 6. The cube, the pyramid and all other static shapes. 7. The unities of time and place.
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Perspective obtained not as the objectivity of distances but as a subjective interpenetration of hard and soft, sharp and dull forms. e The inverted cone (the natural shape of an x p l o s i o n ), the slanting cylinder and cone. 9 & # 6 ! # $ ' : 9 * $& ( / $) " # $; & 7 $ < 2 ' ( " *
Futurist painters maintain that sounds noises and smells are incorporat ed in the expression of lines, volumes and colors just as lines, volumes and colors are incorporated in the architecture of a musical work. Our canvases will therefore express the plastic equivalents of the sounds noises and smells found in theaters, music-halls, cinemas, brothels, rail way stations, ports, garages, hospitals, workshops, etc., etc.
This is the truth!
In order to achieve this total painting, which requires the active cooperation of all the senses, a painting which is a plastic state of mind of the universal, you must paint, as drunkards sing and vomit, sounds, noises and smells!
Manifesto - Futurism
Manifesto - Cup Noodles
task: fill this wallet with dusts and send it back return address: Peisen Shen: Flat 48B,Parliament View Apartment, 1 Albert Embankment, London, SE1 7XL e-mail: email@example.com
Inspired - Tessa Farmer
Redesigning Vinyl Cover - Experiment with B&W photography
Redesigning Vinyl Cover - Pantha Du Prince