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JAN/FEB 2012

unfoLded IntImACy best out there

Photography Show Inner World by Stratis Vogiatzis

reLAtIVe sPACe

A modular cubic home/office in Rio de Janeiro, Brazil, by Luiz Peu

Ebon hEath stErEo.typE Exhibit

www.listeningwithmyeyes.com

Galleria is an Arts & Design Magazine focused on 20–40 yrs old audience, issued every 2 months Cover, back cover and Spines. Detail: Spines of 1 year subscription create a design to engage collectors

Awarded by Artex Scenari di Innovazione in Italy

ebon heAth tyPogrAPhIC mobILes

Sculpting visual poetry in Berlin


*contents

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25 best out there Photography Show Inner World, by Stratis Vogiatzis

reLAtIVe sPACe A modular cubic home/office in Rio de Janeiro, Brazil, by Luiz Peu

foCus

Veasyble uNFoLDED INTIMAcy Disconnection from the reality

ebon heAth TyPoGRAPhIc MoBILES Sculpting visual poetry in Berlin

editor leticia lima Graphic desiGner leticia lima art director Jerri Johnson studio George Brown College

contributors www.veasyble.com http://www.yatzer.com www.stratisvogiatzis.com www.listeningwithmyeyes.com/

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Galleria is italian for gallery. “A room for the display or sale of works of art�. The purpose of this Magazine is to gather great quality work from Toronto based and international artists and bring it to the public to increase awarness and passion for art. Not only famous museums or wellknown artists will be featured, but also emerging talent and independent studios and work from around the globe. Every month, a new issue will feature an interview with an artist that is holding an interesting exhibit at the moment, so our readers can go check it out immediately. The idea is to bring great content in a very modern and clean design, after all it is about Art.This is our fist issue and it is filled up with great work in Photography, Sculpture, Graphic Design, Installation, Film and Architecture. Digg in! We hope you have as much fun as we had putting this Magazine together.

www.glasgowlife.org.uk website www.galleria.ca

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april 2011 Galleria

Galleria Magazine Contents page

april 2011 Galleria

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*focus

VEASYBLE VEASYBLE has been awarded a Special Mention Award by

Artex Scenari di Innovazione 5th Edition and by PAD Design and Mediterranean between Present and Future, 1st Edition.

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april 2011 Galleria

Galleria Magazine Feature Article/Spread 1

april 2012 Galleria

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A

“Veasyble is a forceful exhibition of our personality. like eVery accessory, it

dele, Gloria, Arianna and Ilaria (GAIA) met at ISIA Firenze and it was an immediate understanding and collaboration on projects of Product & Communication Design. They all reflect and work with inspiration and creativity on the issues of living, the spatial and conceptual barriers/ boundaries, the expression of the self in the domestic and urban environment. Gloria Pizzilli is illustrator. With great passion and humility she engages in projects focusing simply on the best. From drawing to design she crosses all forms of expression, leaving her mark. Arianna Petrakis is half Greek, half Italian. From here, two tracks: a rational one - for investigating, understanding and resolving without surrender—and an irrational one—for catching all the emotional nuances of the project with great ease. Ilaria Pacini is a singer. Equipped with depth of thought and expression, keen to address all the issues without forgetting to let her taste and attention to detail pass through. Adele Bacci is a performer. A visionary and lucid mind, capable of developing to the world multidisciplinary projects fresh and intriguing, finalizing into communication the construction of unheard suggestions on the present.

carries a powerful aesthetic message, a barrier that is a dominant aesthetic of priVacy that are illusory and, Very often, insubstantial”. 

What was the process of conceptually developing such project? Did you sit down over coffee and discuss the notions of isolation, intimacy, and ornamentation? How does a project is done?

VeaSYBle truly encompasses a holistic completion of physical and emotional facets masterfully. in spite of its surrealism, the artifact goes beyond mere eccentricity, searching for intimacy where it seems impossible. it is a performance, a type of communication tool, a true declaration of disconnection from the surrounding reality”.

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april 2012 Galleria

Galleria Magazine Feature Article/Spread 2

A project like this comes to life almost as a joke. When a design group gets together for the designing pleasure, you never know what is for real and what is just for fun, how many words, over coffee or between phone calls, are to take seriously and how many are to reject up front and, above all, when it will all come together. To start with, we put ideas, books, thoughts on the table, and we take a look at colleagues’ and artists’ work. This is the inspirational part, the most fun and most inconstant, which serves to bring the intervention point into focus. After this part comes the design challenge, the research for techniques and solutions to keep faith with the established concept. To have an idea is relatively simple, to make it real is more difficult, it is a whole different thing. The workshop starts here: technical and material research and structural test, shaping experiments followed tirelessly, to then to become the Veasyble. In times when our most intimate of domestic moments seem to be with devices of the technology, with Veasyble, it seems to remind us of a

true type of beauty and necessity to be within ourselves and or even share a physical connection to another individual. Veasyble. Unfold a beautiful intimacy is a set of objects ready to use to create intimacy any time, any place, on various levels. How important was it to have a transitional product? And was there any inspiration to this or other historical periods? Transformability was a necessary requisite for the birth of this project. Among the inspiring principles we left out the one which, maybe, explains the Veasyble genesis best of all, that is collapsibility. From here the concept of folding and the study of an effective pattern capable of constructing the “beautiful intimacy” we seek. We study functioning prototypes, in scale and real size, throughout the design process, so we can understand the limits and growth margins of the project. The folding pattern, which sets up our ruff, was designed after a series of folding experiments and it was immediately returned to the appropriate scale to refer to this historical period. The Veasyble ruff is a self-structuring helix, which binds the neck without choking. A modulating object of which you can adjust height and diameter. It follows your mood transforming itself. The entire set moves from the same presuppositions and was designed to transform, but the ruff is, definitely, the most wearable and fascinating object. The accessories are quite provocative and interesting, but the pieces in isolation are a direct discourse on our social complexity. How can we relate to these isolation episodes? Our aim was to put emphasis on a frequent mood: ignoring others, isolating ourselves when we feel out of sorts with the environment, searching for intimacy where it seems impossible. Veasyble is a forceful exhibition of our personality. Like every accessory, it carries a powerful aesthetic message, a barrier that is a dominant aesthetic of privacy that are illusory and, very often, insubstantial. In spite of its surrealism, Veasyble goes beyond mere eccentricity, it is a performance, a communication tool, a declaration of disconnection from the surrounding reality. april 2012 Galleria

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100

Female intake annually in culinary programs vs. female representation at the executive chef level

RECIPE

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FEMALE IntAkE

41%

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Equal numbers of males and females rate compensation as important. However, females earn roughly 24% less— an average of $17,000 less per year.

Male vs. female earning power in professional kitchens.

FEMALE REpREsEntED

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76%

17.3%

100%

0

96% of males and 92% of females consider themselves very or somewhat ambitious.

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At George Brown Chef School, Canada’s largest culinary educator, there is a 41% female intake annually in culinary programs. However, female representation at the executive chef level remains lower than 13%.

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Something happens for women between the bright-eyed optimism of assuming this career, and what should be the culmination of a normal career span in attaining an executive chef level position.

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Gender’s Role in the Career Expectations of Culinary Students

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by Deborah Reid & Lauren Wilson

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Discovering where actions can have the most immediate benefit is essential if we want to retain women through their career lifespan

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Males and females agree that mentorship from a more experienced co-worker or the executive chef is important.

99%

97%

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Males andfemales females agree Males and agree professional mentorship is thatimportant professional mentorship to career is important to career advancement. development

98%

99%

More males than females think that self-promotion is likely to result in career advancement.

Infographics for George Brown Chef School Research about Gender Equity in the Workplace Freelance work/2011

Males and females agree child rearing responsibilities should be equally shared.

of female MBA Over Over half half of MBA students students surveyed agreed surveyed agreed that an that an absence of female absence of female models role models was arole barrier to was aadvancement. barrier to advancement

More females think they will take parental leave at some point during their career

More females agree that women are underrepresented in industry due tofamily demands

F 72%

F 64%

M 51%

M 37%

64%

F M 87% 89%


Wedding Branding / Design & production Thesis Project/2012


Process Book, Teaser and Invitation Detail on teaser: Save the Date printed on wood goes inside balloon, creating fun and interaction with guest who will blow and pop it.


Guest favor: Personalized wine bottles Thank you card: kaleidoskope with a fun picture of the guest wearing props during the Wedding


Self Promotional Material Cd case that holds a booklet and business card. Theme is the 4 aspects I base my design process on— Passion, Vision, Strategy and Flow


Self Promotional Material


My approach My design practices stem from 4 principles such as PASSION, STRATEGY,

vision

VISION & FLOW. The following pages contain a rationale on how I incorporate

It stands for creativity and innovation

them on my working habits and a visual

in Design. Also represents the

interpretation of each one.

importance of being able to observe the world around us to create pieces that communicate fluently with the audience.

passion Passion for design is what makes my heart beat faster when I see a great work or

flow

when I have an idea that seem to be sent from the sky. The poster has the title COR CREARE that from latin means the words

I believe a good design layout is dynamic

HEART and CREATE meaning that passion

and intriguing, taking into consideration

and creativity are side by side

hyerarchy and eye movement on the page.

ANIMUSlibertasSOMNIUMnaturaLaetitiaAMICITIA fidesAFFECTUSamorBENEFICUSinfloPARTUM

2012

approach/*method philosophy

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Thank you I am starting out my career as a graphic designer with a huge willing to keep learning and improving

strategy Not only passion makes a good piece, it needs to be balanced with a good strategy. As well as big accounts and tight deadlines, the numbers are here to symbolize the importance of designing to answer a challenge with an effective solution that is visually engaging

Self Promotional Material Booklet Spreads

PASS/on STRATEGY ViSioN FLOw.

my design skills everyday. In case you are looking for a dedicated and enthusiastic intern with a team player attitude, let me know...I would love to have your review on my work. Thanks, Leticia www.cargocollective.com/leticialima


Thank you


Graphic design Portfolio