Posts Tagged ‘Behance’

Behind the Project: Michael Roulier

In this series, we’ll look deeper into some of the projects on Behance.net that are especially admired in our community. Michael Roulier is a photographer specializing in food and cosmetic visuals, having published more than 30 books in collaboration with three star Michelin culinary chefs. His project on Behance, Michael Roulier, contains photographs featured to help create a book for Anne Sophie Pic, a three star Michelin chef herself.

What was your inspiration for this project?
I was commissioned by Hachette, a French Publishing company to create a “sumptuous” book about Anne Sophie Pic, a French 3 star Michelin chef, a woman in a man’s world; an exception. Hachette knew very well that I would have to be left completely free on the creative part to accept a three weeks time project.

I had already worked with Anne Sophie, so we knew each other quite well. At this level, being a chef, means above all being an artist. This project was supposed to be her published food “manifesto.” The text was written by Stéphane Davet, a journalist specialized in rock & roll, but equally passionate about food.

The 48 images we had to do, like a true photography book, would appear naked, unadorned, and apart from the text.

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The difficulty with a project like that is dealing with the “ego” of everybody. The main artist remained Anne Sophie Pic. My job was to find a concept, translate her poetic world, and at the same time give (with humbleness) my own artistic vision of her food creations. When all the cursors are at the right position, it works.

There is something very pure in the personality of Anne Sophie; she is at the same time very fragile and very strong. The idea of a “white book” imposed itself from the beginning; Her mind is white and beautiful. The leading concept was to make it become almost “surreal”. We played with shades of grey, giving an aerial feeling to the plates; they where likes “frames” for creation.

Then would start the real work: composition.

We had asked Anne Sophie’s team to bring everything in a kit, so that we could start constructing the images with our own inspiration. We had previously spoken on the phone about making mandalas, but I found it too restrictive and wanted to leave everything pretty open.

Sometimes, by the time we had found the composition, the food was “gone,” so we would shoot it with an iPhone to keep a trace for later. The kitchen was kind enough to re-start everything (and it can be a huge job!) and bring it freshly prepared, so that we could recompose and finalize the shot with a high pixel digital back.

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Being a 3 star Michelin chef means that you have very precise ideas about the way you are going to compose food for your clients; Anne Sophie gave us complete freedom to visually revisit her dishes: I think that she wanted us to surprise her. When the job was finished she told me that we had inspired her a lot for the future, it was the biggest compliment she could have given us.

She had a little booklet on her desk, like an artist’s notebook, and we often looked at it to understand better what inspired her when conceiving her food creations.

Can you describe your process in creating this project?
This project was quite technical. Achieving an interesting result on a white background without having the feeling of something simplistic was a bit of a challenge, but I had a clear vision of what the outcome could look like.

Leaving my studio in Paris (and all my usual tools) and going to her hometown in Valence was quiet an adventure because it was impossible to reproduce the quality of food preparation & techniques her team achieved, even with the best food-stylists.

Actually that was the difficult part: doing a technical job in an uncontrolled environment.

When we arrived there with my team, Emmanuel Turiot, the food stylist I work with, and Thomas Naggabo my assistant, they showed us around and asked us where we would like to be installed. I was lucky enough to discover in Anne Shopie’s private office a huge glass wall that separated her office from her secretary. That wall was going to be the magic tool: we covered it with tracing paper from top to bottom, and there we had a huge gorgeous soft light: we could play with hot spots behind and control things pretty well.

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Bringing a food stylist with me was essential to create an interface with the kitchen (an army of 35 cooks dedicated to their goddess Anne Sophie Pic); they speak the same language. The way I like to work is like being in an experimental lab: we have to try, restart all over and over again until we reach satisfaction. Emmanuel Turiot facilitated the relationship we had with all the cooks behind the door, who could not always understand why we wanted them to restart the whole process again.

What sparked your desire to work with food? 
I started working in the luxury business 20 years ago. Cosmetics, fashion accessories etc… I stumbled on food by chance 10 years ago, and loved it because Art directors had no idea of how to deal with it, or actually didn’t really like working on this subject. So there was an incredible freedom for my creativity. I could become a Photographer again!

Today, there is a new generation of Art directors who actually specialize in the food business: it became a trend. I love working with them. We mutually inspire each other.

Do you feel that this project is “done,” or is there anything you’d like to improve on or change in the future?
Not really, it’s now an old story. We are working on new projects. We are already different people.

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Behind the Project: Cinema

In this series, we look deeper into some of the projects on Behance.net that are especially admired in our community. Franck Bohbot is a photographer and visual artist, mainly focusing his artistic research on public spaces and urban landscapes. Each one of Franck’s series features certain photographic intentions — through their enigmatic atmosphere, documentary-style approach, and timeless feel. We were fortunate enough to delve deeper into one of his projects on Behance, Cinema.

What was your inspiration for this project?
For The Cinema Series, my principal inspiration was to honor the Art of Cinema by showing the atmosphere of movie theaters specifically in the state of California. Entering a Cinema instead of watching movies on your smartphone or computer gives a real emotion to the public. I think because of the new media, we are losing step by step, the pleasure to going to your local Cinema.

Cinema

In my hunt, I wanted all the Theatres to be still running. Most are still showing movies and few became auditoriums for concerts or operas. I have always been curious about how Hollywood was built. This phenomenal movie industry was created in the desert in Los Angeles, and for me the state of California represents the American Dream.

Most of the founders of the Hollywood movie studios were immigrants from Eastern Europe in the late 1920s. Some of them like Adolph Zukor ( Co-founder of the Paramount Studios with Jesse L.Lasky) decided to build the Paramount Empire as well as their studios. He decided for example to build an incredible movie palace temple for The Paramount Theatre in Oakland (designed by Timothy L. Pflueger of the architectural firm J.R Miller and T.L Pflueger). I found it interesting that such places were built for watching a movie. It is an important reason why I wanted to spotlight some classic movie palaces of California.

Shooting the architecture of the movie theaters in California is to talk about the city of L.A and its history or the surrounding small town, which has its own past. The history of California is being represented by interiors empty of people but still running, where people used to go and still go every day.

“To be honest, what I tell artists and photographers is just to find your own style with passion. Work is the key. Get your own art to be you, even if at the beginning nobody understands. Just follow your instinct, with references or master in your mind.”

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Can you describe your process in creating this project?
It was a long pre-shoot, before coming to California. My wife and I organized every shoot, for the whole trip, 2 months before travelling from New York to San Francisco. It was difficult at times to find good Theaters that would be in the “Series” and to approach them. So we decided to look at all the cities in California where historical theaters were located. I wanted to included Lobby, Indie Screen, and contemporary movie Theaters. As Stephen Shore said, everything deserved to be photographed. I really like this philosophy, as it is what I do when looking for a theme. An opera or a basketball court in the street deserves to be shot in the same meticulous way.  But when working on a subject such as the Cinema series, I had to make the selection, so I carefully chose the places.

In terms of lighting, I used lusters, lamps, neon, projector screen, or the small amount of available light that I had. I had to improvise sometimes. With the medium of photography I was able to light some walls that were in the dark. Even the public does not see the auditorium as it is in the photograph. That is what I was looking for. Light up those movie theaters by showing the architecture and give them an atmosphere of greatness.

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Every shot was made using a medium format camera. I wanted the photographs to be sharp in term of detail and color, with a great depth of field and the ability to produce large color scale photograph.

I find it interesting to photograph what I have in front of me. When I was in Paris, I focused on Swimming Pools of Paris. I then moved to New York, so I decided to photograph the basketball courts. The soul of basketball is in New York, more here than in Paris or Tokyo. From there I decided to go to California and the subject Movie Theatres and Cinemas had been on my mind since I started the Theaters Series in Paris. I visited and shot the “Max Linder” Cinema. And in the next future it would be another subject in another city.

Did you go through many versions and iterations before coming up with these final pieces?
Not too much. Color is essential to me, so I took a little bit more time in postproduction for Cinema. I wanted to personally appropriate the places and to respect the work of the architects at the same time. So I have to be very meticulous in all the steps, framing, line, composition, light and color.

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Do you feel that this project is “done,” or is there anything you’d like to improve on or change in the future?
For the moment the project is done because I decided to focus on California. I have 3 other movies theaters to photograph there. I will move forward for Cinema Part 2 (not now), in another city, state, or country. Every finished project needs a break. I think this series deserves a parallel version in different places of the world.

Behind the Project: Cloud City

In this series, we’ll look deeper into some of the projects on Behance.net that are especially admired in our community. Together, Julie Wilkinson and Joyanne Horscroft are The Makerie Studio, a creative collaboration producing unique three dimensional paper sculptures for both commercial and artistic purposes. They are inspired by forgotten worlds, rare prints, and the beauty of details, allowing them to create unique pieces. Cloud City is their most recent project uploaded to Behance.

What was your inspiration for this project?
The inspiration for Cloud City came from an obsession with Moroccan arches and architecture, something we’d been eyeing up for over two years and really wanted to use for one of our pieces. We’d started drawing up a few intricate designs based on real buildings, but that had us stumped for a while because the buildings were already so beautiful. It was hard to know what to do next, and how to make them our own in some way. But when we distilled what it was that we loved about them – the pattern making, the colours, the structure – we thought it would be lovely to take these very rational details into a dreamier, illogical realm. And that’s how we ended up with floating egg palaces connected by ladders in the sky…

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Behance wins a Webby Award for Best Navigation/Structure

The Webby Awards is the leading international award honoring excellence on the Internet, and we’re thrilled to be included among this year’s incredible list of winners! This round, Behance took home the webby for Best Navigation/Structure. A big thanks to The Webby Awards and everyone who voted for us. Our team here at Behance couldn’t be more excited!

Behance Wins a Webby!

Learn more about the Webbys and check out the other amazing winners and nominees here.

A Closer Look with Jessica Henderson

How long have you been in design?
I worked as a full-time designer immediately after I graduated college about 7 years ago. I worked in-house in a University marketing and communications department while going to grad school and switched gears to become an assistant professor after graduating with my MFA about 3 years ago.

Do your personal projects differ from your professional work? If yes, how so?
For sure. I very much have one foot in the “fine art” studio and one in my office. The work I do for clients is strategic, objective-based and bottom-line driven while my studio work is entirely self-directed. I love the freedom to wander here–to not have an explicit strategy or game plan. There’s room for ambiguity, surprise and tension that is typically less desirable in the client-work I do.

A Closer Look with Jessica Henderson

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Vote us to the top of the class!

Behance & 99u have been nominated for Webby Awards in the Community, Blog & Design categories. We are so honored by our nominations and appreciate your support. Voting details below!

Nominee – Vote For Us!
Web Category – Best Navigation Structure
http://pv.webbyawards.com/2014/web/website-features-and-design/best-navigationstructure

Web Category – Community
http://pv.webbyawards.com/2014/web/general-website/community

Web Category –  Business Blog (99U)
http://pv.webbyawards.com/2014/web/general-website/blog-business

Honoree – Thanks!
Mobile & Apps Category – Best Visual Design (Aesthetic Honoree)
http://pv.webbyawards.com/2014/mobile-apps/all-devices/best-visual-design-aesthetic/honorees

Mobile & Apps Category – Social Honoree
http://pv.webbyawards.com/2014/mobile-apps/all-devices/social/honorees

A Closer Look with Alex Yaeger

We had a great time interviewing Alex Yaeger, a graphic designer and illustrator who focuses on creating original and intriguing concepts to best serve his clients. 

How long have you been in design?
In some ways, since I was a child. My parents were both landscape architects by degree and I was always surrounded by an abundance of drafting tools. I always enjoyed fictional settings in illustrated books and video games that fleshed out their worlds with logos, maps, and schematics. I would often emulate those sorts of creations in my spare time and especially during less-appealing classes in school. At one point, I even designed a logo for a photography studio my mother temporarily worked at. Despite this, I didn’t realize that I wanted to make a career out of my creativity until I was in my second year of college. Having been somewhat aimless and uncertain about my future before, entering the graphic design program really opened my eyes and realized that this was what I was meant to do. Before I left school, I was already tackling freelance and contracted work.

Do your personal projects differ from your professional work? If yes, how so?
I tend to think about each project very passionately. Working professionally, this has caused some deal of anxiety as, in the end: a designer does have to defer final say to a client or director. I have gradually learned to accept this and persevere in fulfilling the duties required of me. I think this is an internal struggle all creatives face when making a living based on their talents, sometimes we care too much for our own good. Personal projects and creative exercises are a good way to prevent burn out and, in the end, tend to appeal to and bring in potential clients the most.

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2014 Winter Games on Behance

While it’s not recognized as an official sport (…yet), Creatives on Behance have been busy showing off their best work to commemorate the 2014 Winter Games. Below are snippets from our favorite projects that showcase work from all sorts of places–ad work, editorials, apps, and even industrial design. Click on a photo to take you to the full project!

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SOCHI 2014 Winter games sport illustration for NYT by Francesca D’Ottavi

 

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