Louve – Stationery Mockup Kit Scene Creator

Louve, a highly aesthetic stationery mockup scene creator.

For those who think mockups and graphic templates always look the same, you should definitely check out this collection! The Louve stationery mockup scene creator has been designed by studio October November. The photo-based scene creator features well-designed stationery mockups as well as natural sunlight and botanical shadows. Thanks to the use of smart layers, you can easily add your own designs and imagery with just a few simple clicks. Furthermore, the set contains several paper sizes, backgrounds, and different shadow options. Please note, this collection requires Adobe Photoshop. You can get the latest version from the Adobe Creative Cloud website, just check it out here.

Using this kit, you can bring a natural and personal ambiance to your online shop, portfolio, and social media posts. For further information, just follow the link below.

You can download the set for a very low budget at Creative Market.

Louve – stationery mockup kit scene creator.
Louve, a stationery mockup kit scene creator.
Photo-based scene creator featuring natural sunlight and botanical shadows.
A photo-based scene creator featuring natural sunlight and botanical shadows.
Ideal for creating photo-realistic stationery mockups
It’s ideal for creating photo-realistic stationery mockups.
Using smart layers, you can easily include your own designs.
Using smart layers, you can easily include your own designs.
Highly realistic look and feel.
A highly realistic look and feel.
Includes 23 standard paper sizes and orientation options.
The kit includes 23 standard paper sizes and orientation options.
Includes 12 shadow overlays.
Includes 12 shadow overlays.
Includes 3 background images.
Includes 3 background images.

The collection is available for purchase at Creative Market.

Feel free to find more outstanding graphics in our recommended templates section.

The post Louve – Stationery Mockup Kit Scene Creator appeared first on WE AND THE COLOR.


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Sprengel Museum – Visual Identity by Bureau Bordeaux

Graphic design, art direction, and brand development by Bureau Bordeaux in collaboration with David Turner.

Bureau Bordeaux, a Hannover, Germany based graphic design studio teamed up in 2017 with type designer David Turner to propose a fresh visual identity for Sprengel Museum. “The famous museum of modern arts first opened its doors in 1979 with a building complex that expanded multiple times over the decades to give space for a constantly growing collection.” Together with type designer David Turner, they have produced an evolving logotype that refers to Kurt Schwitters Architype. You can see more of the work on Bureau Bordeaux’s website.

Sprengel Museum - visual identity by Bureau Bordeaux and David Turner
Sprengel Museum – visual identity by Bureau Bordeaux and David Turner
Sprengel Museum - visual identity by Bureau Bordeaux and David Turner
Minimalist poster designs.
Sprengel Museum - visual identity by Bureau Bordeaux and David Turner
Sprengel Museum – visual identity by Bureau Bordeaux and David Turner
Sprengel Museum - visual identity by Bureau Bordeaux and David Turner
Sprengel Museum – visual identity by Bureau Bordeaux and David Turner
Sprengel Museum - visual identity by Bureau Bordeaux and David Turner
Sprengel Museum – visual identity by Bureau Bordeaux and David Turner

All images © by Bureau Bordeaux. Do not hesitate to find more inspiring work in our Graphic Design and Branding categories. Furthermore, we show you design templates and professional fonts. WE AND THE COLOR is the online magazine for the international creative community.

The post Sprengel Museum – Visual Identity by Bureau Bordeaux appeared first on WE AND THE COLOR.


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Irena Gajic’s 100 Houses

We already featured Irena, a Belgrade-based artist, and architect, some time ago for a series ofillustrations featured in architecture magazine Soiled.

Since we love her work, we’ll publish here one of her personal projects, titled 100 Houses. A divertissement about spatial concepts, 100 Houses was a daily endeavor manifested on the artist’s tumblr irenagajic.tumblr.com/

I started this project as a daily challenge. Free thinking about space is vital for an architect and I wanted to have some fun with spatial concepts. No restriction, the only rule I set was to get to it without a plan and keep it quick. I wanted to keep the unconscious engaged. The approach is a kind of problem solving. The solution is always surreal as well as the problem itself. I find this approach amusing, since I never know what the final outcome is going to be.

All images © Irena Gajic.


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Architectura Curiosa Nova, by Georg Andreas Böckler (1664)

Georg Andreas Böckler, a German architect and engineer, wrote the books Theatrum Machinarum Novum (1661) and Architectura Curiosa Nova (1664).

Mostly dedicated to hydraulics for fountains, water-jets and garden fountains, Architectura Curiosa Nova also includes designs for grottoes and elaborated geometries for gardens (based upon triangles, squares, repetitive patterns, labyrinthine paths). It is not clear whether the gardens were invented or existing. This is a selection of pages from these designs.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Via: The Public Domain Review


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Plans of Warfare: Figures from Niccolò Machiavelli’s The Art of War

Written between 1519 and 1520, Dell’arte della guerra (The Art of War) was the only historical-political essay published by Niccolò Machiavelli during his lifetime, but it was arguably the lesser known compared to The Prince and the Discourses on Livy.

In seven books, the author treats themes of military theory and strategy (based on training, discipline, and classification), acknowledging the role of war as an extension of politics, whenever diplomacy fails. Due to his frequentation with ancient literature, Machiavelli presented the strategies of Rome’s Republican-time legions as a valid model even for the XVI Century, despite the increasing role firearms was acquiring within the army.

The treatise was written as a Socratic dialogue and it was destined to Florentine rulers, encouraging the adoption of local, trained militia instead of hired mercenaries, as it was the fashion then.

At the end of the seventh book, Machiavelli includes a series of “figures”: diagrammatic plans of battalions, armies, and encampments as “explained in the narration:” true models for the configurations of an army. In each one of the seven figure, the author described the ordinanza, an arrangement or disposition of troops across a territory. In order to describe the plan, a particular typographical system was devised, that associated specific alphabetic types to the corresponding types of soldiers on the battleground. “This form of abstract representation, which reduced men to letters and troops to geometrical figures,” Francesco Marullo writes in his Ph.D. thesis “Typical Plan”, in a chapter titled “The End of the Siege,” “was inherited from the old Tactics of Aelian (Aenas Tacticus), a Greek military writer who, in the II century B.C., edited one of the firsts known treatises on war and military stratagems, describing the different formations of the hoplites’ phalanx through typical forms and parameters applicable in different wars and strategies.”

In the famous woodcut The Siege of a Fortress by Albrecht Dürer (Dürer, Marullo explains in the footnotes citing G.Beltramini, was aware of Machiavelli’s studies on military theory), Marullo sees a visual and conceptual analogy between the regularity and compactness of the rendered troops and the image of buildings: “In this way, the mathematical order of war-machines, first translated into the geometrical organization of the city, was here definitely applied on human bodies, to frame their movements and administer their cooperation.”

In “The End of the Siege”, Marullo attempts a connection between such abstract systems of military representation and the reduction of the city and its architecture to a non-figurative plan as the one of Archizoom Associati’s Hypothesis for a non-figurative architectural language (1970). Archizoom echoes the “isotropic condition and the typological continuum of capitalist production” in this drawing and in other images from the series No-Stop City, devising an analogous typographic system that would describe items distributed across an abstract territory. Since it was produced on a typewriting machine, the plan is the result of the inherent typesetting limitations, in terms of spacing, leading, tabs and indentation.

 

The following is a selection of pages from Art of War, translated, edited, with a commentary by Christopher Lynch, The University of Chicago Press.

We have included the notes and explanations in order to facilitate the reading of the diagrams. Further description here.

Further reading:

F.Marullo, Typical Plan. The Architecture Of Labor And The Space Of Production, (Ph.D. thesis, 2014)

G.Beltramini (ed.), Andrea Palladio and the Architecture of Battle: With the Unpublished Edition of Polybius’ Histories, Marsilio, 2010.

Paolo Fabbri, “I sensi della battaglia” (a semiotic of the arts course on the plastic representations of battle throughout history).


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Heads of Psychopaths

Sebastian Onufszak is an illustrator, graphic designer and director, based in Augsburg, Germany.
Since 2001 he has been working for an international range of high-end clients in the fields of print, interactive and motion media. His commercial and personal works were featured in numerous design publications and exhibitions worldwide. He also lectured on motion graphics and animation at the University of Applied Sciences in Augsburg. Additionally, he is renowned for his experimental live visuals at festivals and events in Paris, Barcelona, Brussels and New York.<--more--!>
The way he breaks up images in both composition and color palette is pleasurable to my palate.
In fact, I wonder what his dreams are made of.. like Robin Williams sliding through fields of paint except after 20 beers and a half a hit of LSD. Something like that. Or maybe that’s just what I’m on.

Presenting: Heads of Psychopaths

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The Multiple Shapes of Abstract Thinking: Prints by Jesus Perea

Jesùs Perea is a Spanish visual artist with a background in graphic design and illustration and extensive production of abstract prints and frequent excursions in the figurative realm.

His work is an exploration of different compositions ranging from intersecting and rotating geometric forms to colorful quasi-architectural structures.
A parallel research is made in graphic techniques: from digitally created imagery to mixed media collages.

While relying on digital techniques, Perea’s works do not seem to indulge in the promotion of digital aesthetics. Contrarily, with their bold associations of colors, patterns, and geometric structures, his abstract creations reveal an uncommon ability to evoke non-figurative artistic movements of the past: from early twentieth-century avant-garde to minimalism, while avoiding nostalgic overtones.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

All images © Jesùs Perea


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Spaces Left Behind: Paintings by Zsofia Schweger

Zsofia Schweger is a Hungarian artist who currently lives and works in London. Her still life paintings of empty interior spaces talk subtly about the people who inhabited them and then left them behind. In her series Sandorfalva, Hungary (2015-17), the subject is inspired by Schweger’s own experience as a Hungarian living elsewhere and coming back to her hometown, Sandorfalva, to find the domestic spaces where she once belonged suspended in their emptiness.

The domestic spaces are populated by doors, chairs, libraries and overall generic furniture, and every reference to a specific space and time is deleted. This procedure helps every viewer in identifying himself with the different scenes transforming a personal experience of displacement into a universal one.

The images are composed of flat colored surfaces carefully balanced in order to underline the pictures’ stillness. The contours of the blocks of color are trembling, as to reveal the human presence of the artist in the otherwise extremely ordered works.

Each one of twenty-eight 4” x 5” paper collages from the series Off the Map (2013-17) is composed using shapes from old historical world maps that were once used to teach history at the college of Wellesley. The postcards depict corners from rooms; the use of old maps, despite their fragmentation, provides notions of scale, distance and depth. As stated by the artist: “an image of a room could contain the whole world.”

 

From the series: Sandorfalva, Hungary

 

 

 

 

 

 

From the series: Bow, London

 

 

 

From the series: Libraries

 

 

 

 

From the series: Off the Map

 

 

 

 

 

 

All images © Zsofia Schweger


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A Six Year Old Boy Is Given $1,000 to Spend in 24 Hours With the Help of Two Adult Chaperones

Thomas Brag, Ammar Kandil and Matt Dajer of Yes Theory conducted a adorably daring experiment in which they gave a friend’s six year old son $1000 to spend in 24 hours (while chaperoned). The boy decided that he wanted to ride in a limousine, go to a toy store, play some VR games, go to a candy store and then go home in the limo. While it appeared the boy was doing all of this for himself, he also showcased his generous nature by giving money to street performers and with the gifts he brought home to his family.

There’s nothing more spontaneous than a 6-year old kid. But give him $1000 and he takes it to the next level. That’s why we asked our friend if we could have his six year old son control our day for 24 hours. The result was freaking outrageously fun.

via Neatorama

The post A Six Year Old Boy Is Given $1,000 to Spend in 24 Hours With the Help of Two Adult Chaperones appeared first on Laughing Squid.

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Artist Adorns the Sights of Disney Parks With Adorable Paper Cutouts Related to the Scene

Keith Lapling, who, as an Interactive Design Manager at Disney, travels to Disney Parks around the world promoting the brand. In doing so, Lapling very cleverly adorns the sights with adorable, related hand held black paper cutouts. In one case, a giant dragon looms large over the Magic Castle while the Beast protectively guards Matterhorn and a princess sits astride a wishing well.

I’m an artist that designs paper cutouts and takes photographs of them in every-day settings, specifically in the Disney Parks…Inspired by other paper cutout artists, I want to bring that paper magic into Disneyland.

submitted via Laughing Squid Tips

The post Artist Adorns the Sights of Disney Parks With Adorable Paper Cutouts Related to the Scene appeared first on Laughing Squid.

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