Category: Community

Victory Lap: App UI’s, illustrating for charity, and more

Small or big, serious or silly, there are a lot of amazing success stories in the Behance community. That’s why we’ve started Victory Lap Fridays — a new series where we ask Behancers to celebrate their latest creative victory by sending us a tweet. Here are just a few of the #VictoryLap tweets we spotted last week.


A Closer Look with Aaron Bloom

We had the pleasure of interviewing Aaron Bloom, a graphic designer based in Seattle, whose typography and screen prints blew us away!

How long have you been a graphic designer?
For a little over five years now.

Do your personal projects differ from your professional work? If yes, how so?
Yes, and no… Most of my professional work will always be about creative problem solving with a strategy behind it. My personal work is all about experimenting so it doesn’t really have to do anything, it can be more of a feeling, it definitely influences how I approach my “work work”. Ideally I’d like to blur the line between the two as much as possible.

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Behind the Project: Dream Sequence

In this series, we’ll look deeper into some of the projects on Behance.net that were especially admired in our community. This time, we spoke to Madame Peripetie, whose work with fashion, sculpture, and the human body is inspired by everything from Dali to Hitchcock to 80′s post-punk.. In a newer work, “Dream Sequence” (soon to be published in a book!) see her signature aesthetic in these sculptural, truly unique pieces.

What was your inspiration for this project?
The project started in 2009 as a commission for one of the NY magazines and turned into a long-term project that I have been photographing infrequently ever since. It was inspired by the Salvador Dali dream scene from the Alfred Hitchcock’s film Spellbound and is closely connected to archetypal dreams (investigated very closely by Gustav Jung) that occur in a transitional period of one’s life and often leave you in a sense of awe and reverence, staying in your mind long after you experienced them. The main idea was to create unconventional characters that radiate the contemplative and poetic artificiality of Sugimoto’s wax sculptures, the hallucinogenic beauty of abstract surreal objects and incorporate physicality and intangibility at the same time. The hypnotic visual experience is being intensified by ephemeral flowers, hazy light and illuminated black background.

Can you describe your process in creating this project?
It is a very analytical approach towards a very specific color palette and a strong composition involving both solid preparation – costume and model-wise – and experimental approach on set where the magic happens! It is a mixture of theatrical images that has been composed fully by myself and also in collaboration with a stylist Rolf Buck. The 2012-2013 part is being created together with a stylist Stella Gosteva and make up artist Marina Keri, who both understand my vision completely and implement the ideas with an immaculate precision and skill. It is difficult to say how exactly a character will appear and evolve – sometimes it is the garment I see somewhere that inspires me, sometimes the texture and shape of the flowers that capture my attention or an unusual model that is being transformed into a bizarre persona. In the end, the interaction of all elements constitutes a final result.

Did you go through many versions and iterations before coming up with these final pieces?
The project fluctuates, the characters transform, the light set up differs from time to time and it is becoming more and more mosaic and complex to tell the same story with a surprising, bold twist. I find myself comparing the actual part with the older one – but it is pointless in a way because I see it as a perpetual creative process with heterogeneous evolutionary stages connected by the architecture of proportion and chromaticity.

Do you feel that this project is “done,” or is there anything you’d like to improve on or change in the future?

The series is planned as a book and exhibition this year and i will take it from there and see if it can evolve into a video work.

Did anything interesting happen as a result of the success of this project?  (fans contacting you, job opportunities, blogs picking it up, etc). 

You contacted me for this interview! Yes I have been receiving plenty of emails and messages, I shot a campaign and met several inspiring and very talented people. I had a pleasure to collaborate on the new set of dream sequence photographs with a fantastic team from BOO. design (Ana&Amy) that created beautiful paper pieces especially for this project.

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Behind the Project: Epic Infographic of Sony Music’s Timeline

In this series, we’ll look deeper into some of the projects on Behance.net that were especially admired in our community. This time, we spoke to Alex Fowkes, a UK-based graphic designer who received a monumental brief: celebrate Sony Music’s 125 years by creating an giant infographic (containing the name of every artist who ever signed with Sony throughout their history) to go on Sony’s office walls. The result is incredible. 

What was your inspiration for this project?
The inspiration for this project was mostly the brief and the content itself – that drove a lot of how it needed to look and function. The layout of the type came down to me deciding that I wanted to deliver the content in columns, much like a newspaper. This was due to the vast amount of information that needed to be displayed and most of all understood.

Can you describe your process in creating this project?
The project was 6 months from first meeting to the press releases going out. I pitched for the project with my ideas, and once I was chosen, the biggest part of the process was for filling my proposal. With only myself to set almost 1,000 of the music industries biggest names, there was a large mountain to climb. I spent over 2 months everyday setting names into the columns and drawing images for the bigger names artists. Once all the artwork was completed and signed off it was off to the printers to be made and then one long weekend to install. Read more →

Behind the Project: Day of the Dead

In this series, we’ll look deeper into some of the projects on Behance.net that were especially admired in our community. This time, we spoke with John Rees, a photographer in Austin, Texas about his photo project “Dia De Los Muertos” – named for the Mexican holiday that remembers deceased friends/family, marked by unique costumes. With a great inspiration behind the work, learn more about his process and execution of these striking shots.

What was your inspiration for this project?
The inspiration for this was – quite simply put – my mother.  After her unexpected death, I was creatively paralyzed for quiet awhile – but I did this work for the sake of doing something creative again, and in that way it is a tribute to the strong will and sprit of my mother…

I worked with a fabulous hair and make-up artist by the name of Brittany Troche, whom I also consider a dear friend, and collaborate with on projects from time to time.  We both share an interest in “Dia de los Meurtos” imagery and what it celebrates.

Can you describe your process in creating this project?
It was all quite organic. I was in Salt Lake City doing client work, and both Brittany and the talent (the model Caitlyn) were available. It all came together quite naturally, which is what almost always happens when you surround yourself with such talented people. I’m fortunate to know so many generous, talented people.

Did you expect it to be as popular as it’s been on The Behance Network?
I didn’t have any expectations about this body of work.  It was pure catharsis and I didn’t have any real intent beyond that.  Creating just to create again.  So, yes I’m surprised that it has received any attention at all.  Since I posted it on Behance, It has been published in Mexico in a publication called, Origama, I have had request for other uses as well.  It’s really nice that there is movement around work that is so personal to me.

Did you go through many versions and iterations before coming up with these final pieces?
No – I shot them all in one day, We just kept mixing things up as we saw fit throughout the process, adding things and subtracting others as we saw fit.  It was purely an emotional response to how things worked or didn’t

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181 Events Later…Behance Portfolio Review Week Recap

The second ever Behance Portfolio Review has officially wrapped up – and was even bigger and better than the inaugural Portfolio Review Week last May. We’re so proud of our community for making it happen, and to help bring like-minded people together around the globe to share their work and get feedback.

  • Events Worldwide: 181
  • Countries: 56
  • Communities Formed (interested in hosting): 487
  • Percent of Events Outside the USA: 72%
  • Number of People at Biggest Event: 400 (rome!)
  • “Appreciation Coins” Awarded Worldwide: 925
  • Tweets posted about #BehanceReviews:2,900
Check FLICKR and PINTEREST for many more images!

Behance Portfolio Review Recap

Portfolio Review Week has come to a close and thanks to our amazing Behance community, we had a very successful second round. Take a look at some incredible media coverage from around the world!

Hovercraft Studio & Design Week Portland 

Designit Speaks to the Behance Community  

 

Behance Review at Peppermill 

Grafic Notes 

 

For more press coverage of Portfolio Reviews, click here.

Hurricane Sandy Relief: TOKEN

Hurricane Sandy had devastating effects on those near and dear to us, including our friends at TOKEN, a design studio based in Red Hook, Brooklyn. This talented team is extremely active in the Behance community, and they were kind enough to share their story.

When was the studio first opened? How did it get started?
TOKEN opened in 2007 after Emrys and Will took over a small furniture/lighting studio and furniture/lighting design office that they had been running for a fashion brand.

What type of work does your studio primarily focus on?
TOKEN is a Red Hook, Brooklyn-based design and manufacturing studio that develops contemporary handcrafted furniture and lighting objects embodying the evolving intentions of American modernism.

What creative project you’ve worked on are you most proud of?
If you’ve been to Lincoln Center recently, you might have even seen some of our work featured within the Promenade of the David H. Koch Theater. We were one of three local NYC design studios selected by the New York City Ballet to showcase our work there for visitors to enjoy.

Could you describe the effect Hurricane Sandy had on the studio?
When Sandy came ashore, she brought with her about six feet of brackish storm surge and delivered it right into our Red Hook studio. She trashed our space, submerged our machinery, ruined raw material, and destroyed our offices and showroom.

What has helped your team stay motivated and positive throughout this tragedy?
Knowing and believing in the fact that change, whether its forced by massive flooding or not, can be pushed in very positive directions.

How can people help and get involved?
By following the growth of our brand and by passing the word along that we are rebuilding and going to come back stronger than before.

Help TOKEN recover from Hurricane Sandy- Donate here

Be sure to check their incredible work 

Behind the Project: Human Sculptures

In this series, we’ll look deeper into some of the projects on Behance.net that were especially admired in our community. This time, we spoke with Julien Palast, a photographer in Paris. His “SKINDEEP” offered a unique, eye-catching rendition of humans as sculptures. Take a deeper look into his process below.

What was your inspiration for this project?
I wanted to create instant bas-relief (a type of sculpture) with live bodies, like ephemeral sculptures of the human form. i got inspired by the scenes you can find in the front of churches or antique monuments.

Can you describe your process in creating this project?
I wanted to retain the sculptural form of the body without the personal identity of a model. I tried with body painting in the past, but it is a very long process that always needs a lot of on-stage and post-production retouching. So I was searching for a technique that would avoid all this. I started by experimenting with different materials and techniques. I did several trials before coming up with the right technique. it got improved during the photoshoots, and is still improving!

Did you expect it to be as popular as it’s been on The Behance Network?
No, i wasn’t expecting it to be so popular, I was happy with the outcome but I was very happy to see that so many people appreciated it.

Did you go through many versions and iterations before coming up with these final pieces?
I did a first version of the SkinDeep project in 2010, but the material was not the same and the outcome was more abstract, less accurate, which was nice too but I wanted to explore a different side for this second version. In between these two series, I tried out with several different materials and techniques before finding the one that I found more suitable.

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