The Vancouver and Berlin based design group eBoy creates 8 Bit images for a heavy hitter client list that includes companies like, Adidas, Coca Cola, Pepsi, Paul Smith, DKNY, Kidrobot, MTV, The New York Times, Wired Magazine and many others.
The idea driving eBoy’s creative approach was the embracement of the new possibilities of the emerging digital world. Their decision to directly work on and for the screen led to the simplified use of pixels, which resulted in a very retro 8-Bit style. From that a modular based work system started to evolve and resulted in some very complex object rich artwork.
eBoy’s latest work is designed cityscape wall murals of London, Los Angeles, Baltimore, Berlin, New York, Paris and Tokyo for Wallpaper Republic. Also available are their pixellated people in a wallpaper named “Peecol” and some graphic pixellated repeat pattern designs. Not for those who favor subtlety.
Vancouver company Solus Decor earlier this year began testing a new outdoor fire pit. A simple 8 inch thick piece of concrete that is 36 inches square. It is now available on their site under the name Halo.
The fire pit is hand crafted in smooth high-performance concrete and is heated using a 40,000 BTU natural gas burner. The unit is manually lit and uses a typical key valve to adjust the flow of gas to the burner itself.
Halo appears to float just above the surface that it is installed on with its base hidden well behind the edges of the box itself. The fire bowl is a shallow concave indentation that gently breaks the surface of the block, and allows the flame to pass through smooth contrasting heat-resistant fire stones.
I love the look but at $3900.00 plus shipping from Vancouver, it’s a bit beyond my budget right now, so I’ll have to wait.
I found this today on the Marketing Magazine website and fell in love with the whole concept for this direct mail piece. Apparently this was shipped almost a years ago, and it completely slipped under my radar.
Ad Agency “Grey” from Vancouver Canada produced this clever portable record player for GGRP that is made from the corrugated cardboard sleeve that is the mailer for the 45 RPM record inside.
You simply fold the envelope up, place the record underneath and spin it with a pencil to play the children’s story, “A Town That Found Sound”. The hollow space behind the needle works like a sound chamber to amplify the audio.
According to Geoff Dawson, , associate director at Grey, “It’s actually shocking how good the sound quality is, it took a long time of playing with different materials and designs to get the audio just right”.
Grey came up with the idea based on the deep history of GGRP, and the relationship of the audio industry to its roots in vinyl records. Vinyl is undergoing a resurgence in popularity and the design helps to reinforce the creativity that GGRP brings to the table. Grey wanted to showcase GGRP’s creativity and love for sound, and I think they have pulled it off quite brilliantly.
This simple, well designed, clever direct mail piece has brought more traffic to GGRP than any other item they used. The response has been so strong, that recipients of the mailer have been calling GGRP and asking for more copies to take home to their kids and give to others in the office.
Over the last five years, Vancouver based Artist and Architect Taizo Yamamoto has created an amazing series of drawings of homeless peoples shopping carts. Meticulously drawn in graphite and pen, the images are freeze frames of what Yamamoto calls sculptural works in progress. He is fascinated by the ever changing look that is created by the individual that builds and lives out of the cart. By examining them you begin to see glimpses of how the owner lives, elements of weather protection (tarps, umbrellas, bubble wrap, sleeping bags), bottle/can currency, and even personalized objects like stuffed animals. He says that as an architect he is fascinating to see how these carts are truly “designed” in terms of immediacy and necessity.
These remind me of Robert Longo’s “Men in Cities”, drawings from the late 80’s and early 90’s yet the absence of the human figure adds an almost haunting quality to them. Yamamoto has captured such detail in each work, copying what was created out of necessity by the homeless individual who carries all of their belongings in this single, modern day wagon. Yet that individual is absent from the image, rendering the cart a disembodied extension of the individual.