MIT Media Lab's Brilliant New Logo Has 40,000 Permutations

This is Cannes Design Lion potential. An algorithm can create 40,000 logo shapes in 12 different color combinations, providing the Media Lab an estimated 25 years' worth of personalized business cards.

MIT Media Labs lent some of their highly attuned brain space to logo design, and they really delivered. A single business card print-out could be a little confounding—but it’s only 1 in 40,000 permutations. Seeing it “in motion” makes total sense. We like how the logo speaks to the individuality of each member without straying too far apart from each other. We’re looking forward to their next logo design, after their 40,001th hire.

New OFFF brand - contest

OFFF is the process to do a global rebrand to OFFF Festival and has decided to give you the opportunity to send your ideas.



This is a big step for them and they would love to have you all involved in some way on this process.

To make it more fun and spontaneous, you only have until next Sunday 5th September 2010 to send your idea/concept.

What OFFF needs is:

- New Logo for OFFF (with a solution to include subareas like "OFFF Logo + Atelier", "OFFF Logo + Ontour", or "OFFF Logo + F.C."), vector format.
- New tagline (no more Post-Digital Creation Culture).
- A quick sample of identity cards.

OFFF will select at least 50 proposals that will be included in the next OFFF Book Project to be published by Indexbook next June 2011 and of course only one will have the opportunity to be "the one".

Have a nice trip

The Master Builder, Sara De Bondt

Publication Launch
The exhibition 'Designs for The National Theatre: Ken Briggs' is on at Pump House Gallery, London, until 17 May 2009



The Master Builder – Talking with Ken Briggs
Edited by Sara De Bondt and Fraser Muggeridge

Wednesday 13 May 2009, 6.30-8.30pm

Pump House Gallery, Battersea Park, London SW11 4NJ
www.wandsworth.gov.uk/gallery

Published by Occasional Papers
with Pump House Gallery, London, and the National Theatre

www.occasionalpapers.org

OFFF 2009

Unfortunately I will miss this years edition but I suggest many of you to join me in tracking the event online as OFFF is a magnificent event.
Computerlove is looking for people to report from the OFFFestival in Oeiras (May 7-8-9). So if you're going and you're an enthusiastic blogger with something to say about graphic design and interactive applications you might wanna consider contributing to the CPLUV+OFFF blog.

Check inquiry here



Since 2001, OFFF is exploring software aesthetics and new languages for interactive and visual expression.

Every year, the festival features digital artists, web and print designers, motion graphic studios and avant-garde electronic musicians. But OFFF is more than an event about any of these disciplines. More than a design conference, a multimedia trade fair, or a digital animation festival. OFFF is an enthusiastic celebration of a new visual culture.

From exercises in interactive synesthesia that excite all our senses to stage performances made of lines of computer code. All this, and much more, is shown every year at OFFF; one of the essential meeting points for the international scene of postdigital creation.

Past participants in OFFF include legends of graphic design and visual communication like Neville Brody, Tomato, Kyle Cooper or Stefan Sagmeister; acknowledged software artistssuch as Jared Tarbell, Lia, Casey Reas & Ben Fry, or Daniel Brown; innovators of the moving image like We work for Them, Tronic Studio, D-Fuse or Renascent; explorers of advanced interaction like Soda, James Paterson, Amit Pitaru or Craig Swann; and the most important names that have defined the aesthetics of the experimental and creative side of the Web: Joshua Davis, Yugo Nakamura, Hi-Res!, Josh Ulm, or Erik Natzke. The festival has also a special spot for the main names in the Spanish scene (Area3, Vasava, Innothna, Cocoe, Dani Granatta, La Mosca...) and for creators of surprising new kinds of sonic landscapes: Tujiko Noriko, The Vegetable Orchestra, Sutekh, Taylor Deupree, System, Daedelus, Stephan Mathieu, Kenneth Kirschner...

OFFF is spreading the work of a generation of creators that are breaking all kind of limits. Those separating the commercial arena from the worlds of art and design; music from illustration, or ink and chalk from pixels. Artists that have grown with the web and receive inspiration from digital tools, even when their canvas is not the screen.

The beginning is always Today, Today Design

#UPDATE: DISCLAIMER:
The cases of Stad Antwerpen, Pegase, Brussel Airport, Veritas en Indi are courtesy of LDV United. Redstar Design is a division of this agency.
Today let me know they never intended to claim this work as theirs and they disclaim all rights for the work they performed during the time working at Redstar Design for LDV United.

Next Shapeshifters (12 March 2009, Brussels)
Thursday I'm off for a new Shapeshifters edition. This week Sint-Lukas is featuring Joshua Blackburn who studied crime, consumerism and political philosophy. And Randall. C who would love to live like people say he draws comics.

Today Design
Belgian Craftsmanship in Brand Design




Small summary
This post describes my meeting with Tom Andries of Today Design, a small screening of his lecture at Shapeshifters and some insights on brand design, his company, and the relation between design-agencies and ad-agencies in Belgium.
Tom Andries is the co-founder of a small but great brand design agency based in Leuven, Belgium. Tom is very fond of Olins and it's Brandbook. He specialized in typography and works with a focus on brand design. One of his favorite fonts is the Grotesk, basically that's how we relate, and owh... I admire him because he worked in an ad-agency as a designer for several years. Rest assured, there are better jobs in advertising.

Today Design: 8 beliefs to learn by heart
» Specialize and know your trade
» Go for quality, aim for the top
» Creativity is 20% of talent and 80% of sweat
» Keep it simple and long lasting
» 1 + 1 = 11 Work togheter
» Always look for the big idea
» Creativity is solving problems
» Don't promise what you can't deliver

To me, Today Design might be the best brand design agency in Belgium. Yes, the best. Sorry, Base, Coast, Flink, Today is now. Off course all of this is just my truth, not The.

Meeting Tom Andries
Already looking forward to the next Shapeshifters my mind was drifting off to the talk I had at the Beursschouwburgs' bar last time. I was very inspired by speaker and co-founder of Today Design and arrogantly told him that he uses too much modernist fonts in his work. No, sorry that's a lie, but I opened the long talk with marking that he is clearly a big enthusiast for Berthold Akzidenz Grotesk, as I am as well. It is my all time favorite. I used it for the title of this blog, and I used it for the title of my kids blog and greetings-card. Of which, by the way, I still owe you concept and design walkthrough. Eurgh, well soon to come, I promise.



Who is Tom Andries?
He started his career at Marketing Design Brussels and later founded the creative hotshop Vulcan. He became creative director of Redstar Design Antwerp (design department of LDV United, a WPP company) where he created some famous logos and brand identities like the well-known A for the city of Antwerp, Veritas, Indi, O’Cool, etc. He then set up Today Design, his own brand design agency that features companies such as Sony, Brussels Airport and Gamma on its client list.



Shapeshifters and the history of Today
After dwelling a little on his influences and his formative years, he moved on to show the work he had done for various bureaus and clients. This included some very well known identities in Belgium. The second part of his work dealt with assignments for his own office Today Design. Especially interesting were the many “before” and “after” examples he showcased, and seeing the brands in real-world applications. Seeing the incredibly simple and tiny doodles which were at the origin of elaborate branding campaigns was fascinating. Furthermore I was shocked to find out how many logo proposals he actually submits to his clients. One example he used had 36 variations!



If you're not a designer you might think of proposing 36 logos as evident but tweaking the same logo representing a brand enough to have a destined look from another proposal enough and making 36 of them is one hell of a job! You should be drooling with respect already. Anyway, after putting all effort into making several proposals comes the hardest part: killing your darlings. If you work in advertising (as a designer) more often than not other people decide for you which can be liberating yet frustrating at the same time.



Talking about this with Tom. At the bar of the cafe. I told Tom how I struggled the reign of the ad-agency when I was a designer. Putting all your energy into the making of several proposals, being overruled in decision making by some fancy 'smanshy' fart director who never designed himself, and never having the feeling they are really happy with whatever you came up with killed me at some point. It made me never want to design for somebody else but myself. In the end I became an art director myself, lucky those designers working with me...
Anyway when I asked Tom how he survived he said: "patience, stamina, endurance and biting the dust until you're respected enough to overrule them". Hmmn, well all I could think was "good things come to those who wait".

Specialize and know your trade
Tom and Today focus on Brand Design. They, Tom and Geert, sail their studio under the flag: "Craftsmanship in Brand Design". By singling out this one expertise they acquired an expert skill in creating a graphic brand image. Over the years they worked for several bigger ad-agencies around the country. But while sipping beer and gin I noted that Tom and Geert, who were both at LDV at the time they dreaming about a start-up, weren't too eager to get things going. Starting up a studio and focusing on 1 facet within graphic design is a rather risky thing to do if it turns out you don't have enough skills or network to sit it through. Jan Baert, creative director of VVL-BBDO, encouraged them to do so. Ensuring them with a load of jobs to get the studio going. The backup and insurance of someone holding a strong position within the industry is golden, especially when that industry is called advertising. You must understand that no ad-agency really has brand specialist designer in-house. They're too expensive, or can't bear the eye on the shoulder at work.
I think choosing the Brand Design specialty is their strength. And there are several reasons to explain:
» strategically there are no questions asked about what your business is
» specialists can focus on what they do best, and work with higher hourly costs because they're considered experts
» ad-agencies love small expert studios like this because they can deliver quality work that pays off, by taking a large fee on jobs they don't have to spend much running time at. Ones the creative director and strategist give their blessing the job is frankly done.

Being an independent studio might be considered taking a financial risk at first but growing mature the founders can largely benefit from it, or sell and move out. Also creatively it comes with a large freedom as designs of expert studios are considered a good job more often than not. So, whole different ball game than working in-house as a designer.



The brake of dawn starts Today
I think designing your own identity is very liberating. You are your own, you are the brand, you breed the brand. But with all this freedom comes it's burden. Namely, all other designers judge you on your own identity. The agencies rather look at your work first, but with all the fame you can reap with the work you do your own identity will pop into the picture one way or another.
Building a new identity takes 3 major and markers to put down: your name and logo, your strategic story and accompanying baseline, and, a very recognizable creatively visual style.
» name: Today
» the logo: the negative space of the letter "o" in "Today" is filled and the letter is dropped down the baseline on which all letters of that line 'stand'. By doing this the letter "o" abstractly looks like a rising sun. The big idea here is shaking hands with the line: "the beginning is always today".
» strategic and baseline: Craftsmanship in Brand Design
» style: large modernist typographic elements, using the Proxima Nova, combined with a firm body serif, using Berthold Akzidenz Grotesk. The typography in the identity is always combined with destined full color solids to work with the forms of the fonts in use.

The work of the day, Today
I'm just going to briefly walkthrough and complement some cases with additional info. In my opinion the work must speak out for it's self.


caption: a serious facelift of the Pegase identity. Today literally beamed this brand from the fifties into the 21st Century. Fresh and strong with a tasteful touch of decency.


caption: the logo represents Brussels at the crossroads, the junction, the hub, the center-point of a united Europe. Also, bit tongue in cheek, it represents the top of an umbrella because Brussels tends to beat London when it comes to counting the gallons of water falling from the sky.


caption: a very important id for the Belgian economy is this one, Brussels Airport, bacause there has always been a bit a controversy where and what it actually was. People used to use several names for the airport before this brand settled, so a clear marker was a warm welcome to many travelers landing in nescience of Belgium, Brussels, Zaventem and it's surroundings (geography).


caption: all of the staff operating in the airport became part of the idea of "airport as a safe haven, a place to feel comforted, not to mention at home"


caption: city marketing is more often than not a blank laugh but in Antwerp they got off to start with a good base, namely, a logo that was manly enough to stand and totally in touch with it's feminine side by being very spontaneous and hospitable.


caption: this identity had to be fixed and locked into a system that would lend the possibility to keep playing around with in order not to tire the identity to wear off soon after it was launched. So Today deadlocked a very solid baseline grid that leave open a broad myriad of opportunities to whoever designer later has to work with these assets.




I hope you have enjoyed this post as much as I enjoyed Tom's lecture and don't forget: today is the beginning of the rest of your life.

It's Nice That publishes 1st magazine

I've been following It's Nice That for quite some time now. I've started following It's Nice That by spotting this article. It's Nice That simply posts images on newly found and mostly/sometimes interesting artists, designers and illustrators and writes a small paragraph on what the post is all about. Informative and, to me, a great source of inspiration.

It's Nice That has been publishing 1 year now. To celebrate that it publishes a booklet with their reap of the most interesting topics and posts. I'd been thinking about doing something likewise for a while but I just haven't found the time to do it. Making of wrap of 3 years of posting is of course a whole other ballgame so I've let it be, though I have thought of pouring my top ten articles in a .pdf... if only time would be on my side.

It's Nice That

Shapeshifters: Tom Andries & Nadine Chahine

Tomorrow evening I'll be attending Shapeshifters again. For the second time this year a duo of authorities operating within the field of graphic design will talk about where they're from, what they did and why. Last time I was a bit disappointed in Luc Derycke, though "a bit" is quite an understatement. The man was off raving like a madman, I a certain point I had the impression had brushed his teeth with acid that morning. Hiorthøy's presentation was of a whole other dimension. Humble as always he just stood there being his own 'normal' self, down to earth, with the utterly human touch to the way things were told.

See you there, or wait... If you have been following the activity at Shapeshifters last years you probably noticed that the listed names, this year, aren't the big yoohaabooha they were the years before. Last year Shapeshifters staged Marti Guixé, Lars Müller and Anthon Beeke. and if those names don't speak to you maybe the ones of the series running during the season 2006-2007 ring a bell. John Maeda, Adrian Shaughnessy, Gerard Unger, Irma Boom and Erik Vervroegen. Some others were Alex Trub & Urs Lehni, Laurent Benner and Paul Boudens, Richard Niessen, Rene Knip, Jon Wozencroft and Geneviève Gauckler. Hows' that for a credit-list. Few days ago I was asked to join a team of designers to help publish a book on the Shapeshifters series of past series. I was delighted and am of course very eager to get started. Thank you Johan my March is fulled booked from now!


17 February 2009 — Tom Andries + Nadine Chahine

Tom Andries is a partner at Today Design. He studied graphic design, advertising and typography. He started his career at Marketing Design Brussels and later founded the creative hotshop Vulcan. He became creative director at Redstar Design Antwerp (design department at LDV United, a WPP company) where he created some famous logos and brand identities such as the well-known A for the city of Antwerp, as well as those for Veritas, Indi, O’Cool, etc. Tom has 15 years of design experience and has taken full advantage of this time to create a host of logos and corporate identities.

Nadine Chahine is an award-winning Lebanese type designer with a special interest in Arabic typography. During her studies at the University of Reading (typeface design), she focused on the relationship between Arabic and Latin scripts and the possibilities of creating a harmonious association between the two. She taught Arabic type design at the American University in Dubai and at the Lebanese American University in Beirut. In 2005, she joined Linotype, Germany as the Arabic specialist and has been living in Germany since then. She won the Dean’s Award for Creative Achievement from the American University of Beirut in 2000, and an Award for Excellence in Type Design from the Type Directors Club in New York in 2008. Her typefaces include the best-selling Frutiger Arabic, Palatino Arabic, Koufiya, Janna, Badiya and BigVesta Arabic.

Shapeshifters, lectures on graphic design

Luc Derycke has an educational background in the arts, and works as a book editor and graphic designer. Since 1993, he has concentrated on the design and production of art books, thus establishing his international reputation. His aim is to create a perfect fusion between all aspects involved in the creation of a book: along with content and form, institutional and historical context, the relation to the canons, market, budget, technology and materiality are essential components of his design process. In 2005, he founded mer. Paper Kunsthalle, to investigate the notion of books as mental exhibition spaces.

Dutch spoken




Kim Hiorthøy is a graphic designer and illustrator from Norway. He is perhaps best known for his work for the Rune Grammofon label, for which he has made over 80 covers. Hiorthøy studied fine art at academies in Trondheim and Copenhagen, and studied film briefly in New York before beginning a freelance career, starting out by illustrating many children’s books. In 2000, he began releasing music on Smalltown Supersound, for which he has also designed many sleeves. He has worked for clients such as Drag City, Sony Music, Adidas and mtv. Tree Weekend, a monograph of his design work, was published by Die Gestalten in 2000.

English spoken

Wednesday 28 January 2009
Venue
Beursschouwburg
A. Ortsstraat 20 – 28
1000 Brussels
02 550 03 50

Tickets
Tickets can be ordered at 02 550 03 50 or tickets@beursschouwburg.be

Price
Single ticket: € 12/10 – presale € 10/8,5.
Subscription 4 lectures: € 40.

Omega Code

Not just music, not just art. An ideology.
Omega Code believe that now-days music should be tightly attached to visuals, and that they should be based on a solid concept, to create a whole experience.

To absorb the content and not just pass through it.

Well I must secretly admit that I was already a big fan of 'em long before I heard their first spark of music. The visual buzz they have been spreading around for since the 21st of november 2008, is so thrilling that it already has conceived a certain status of being dark, mysterious and powerful. They have scrambled the leaders in design and visual arts the create their world, and now they have opened up and challenged the whole world to engage with the world they've created.

They have opened a Fan Art set for submissions. Artists can download a template and send their art. The artwork must contain the image of the OmegaCode logo somehow. All entries and official imagery for the posters you can check out on flickr

20 of the strongest illustrations will be featured in the upcoming OmegaCode book. Deadline: February 27th. Send artwork in your LOWRES 72 dpi to hello@omegacode.net

Their album "Ω" will be released shortly. Their album will free. The release will be accompanied with a series of free posters, made by some of the best designers around, together with a book and a dvd. Interactive installations, concerts and exhibitions will run in Sao Paulo, New York, Munchen and Lisbon (in Lisbon they'll play at the OFFFestival). Their also preparing a remixed album to explore the other point of view by fellow musical artists. Now the site is already featuring a remix by Michael Fakesch of the former Funkstörung.

Omega Code is Marcelo Baldin (Guitars and Programming), Lucas Baldin (Bass and Vocals), Danny Kopecky (Vocals) and Davi Ayres (Drums)

Amongst the visual artists they collabare with for this project are:
Joshua Davis, Si Scott, Motomichi, Peter Jaworowski, Ash Bolland, Hello Hikimori, Andreas Philstrm, Joao Oliveira, Mike Cina, Michael Paul Young, Robert Lindstrm, Nelson Balaban, Mate Steinforth, Tom Muller, Collectivo, Animatrio, Doomedo, Sebastian Onufszak, Nacionale, Matthew Curry, Unstru, Toms Pea, Christopher Hewitt, Esther Varella, Dimitri Lima, Stephan Alt, Robert Hodgin, Mr.Doob, Eduardo Recife, and Danny Franzeb
» euhm, yes, all of these links are worth bookmarking and clicking twice - believe me

Resistance, it’s the point of equilibrium between the whole album. It sustains all the purposes in one. Means equity. The point of perfection, holding everything on its shoulders. Peace.

About all major design portals (Surfstation, Cpluv, Reform&Revolution...) have already covered them so far...

Shapeshifters

SHAPESHIFTERS (BE) - Luc Derycke (BE) & Kim Hiorthøy (NO)

Boekendesign als totaalproces en het boek als mentale tentoonstellingsrumte. Luc Derycke – designer/producent van kunstboeken en oprichter van MER. Kunsthalle – bijt hiermee de spits af in de Shapeshiftersreeks, waarna de Noorse ontwerper Kim Hiorthøy - Rune Grammofon Label, Smalltown Supersound – overneemt voor een uiteenzetting over zijn grafisch werk en de kruisbestuiving met andere disciplines, lees muziek. Als kers op de taart illustreert hij een en ander ook nog eens met een pittige DJ/live-act, speciaal voor u.

Lezing 1: 28 januari 2009
Presentatie Luc Derycke in het Nederlands,
presentatie Kim Hiorthøy in het Engels.

Foldskool heroes

Marshall Alexander grew up in the seventies and eighties, his childhood memories basically consist of videogames, bright plastic toys and TV cartoons. Any time that was left he spent drawing and programming games for my Commodore 64. At a later age a few of his childhood dreams became a reality when he temporarily moved to Melbourne, where he worked as a videogame programmer, did oil-painting in a studio and had his work displayed in one of the local galleries. After a course in Graphic Design he made a career-switch and became a graphic designer/illustrator. Currently back in The Netherlands he works at a small design company and spends his spare time illustrating his childhood memories and designing papertoys. He specialize in one-piece papertoys that consist of a single flat piece of paper, which by intricate folding is transformed into a 3-dimensional model.

The Collaborative

“The Collaborative” is a newly born project that thrives on the collaborations between artists and creative companies, whether visual or graphical. Basically it’s a concept of “works that are created by people together”, collaboratively rather than individually.

The first Collaboration is a result of a conceptual idea developed by model and stylist Michelle Warneke, produced by photographer Mike Van Cleven and completed by 12 different visual and graphical artists. The result is a collection of 12 creative images of models, of which each image was passed on to another creative artist who considered the image as his/her blank canvas. In collaboration with Ou-Vert & Print International the works have been bundled in “The Collaborative 09 Calendar”.

Mike invited me to join The Collaborative for their first project. A joyfull assignment: "I'll send you the RAW image of one of the 12 modells I've shot in a series for my promotional calendar which I send out every year. All you got to do is cover up the naked model with some artwork — so she's not totally nude anymore..."

In just a little bit more time and the 09 Calendar will be printed and ready to send out. If you’d like to get your hands on one, feel free to drop Mike an e-mail at thecollaborative@mikevancleven.com

Mike is giving out a couple of these calendars to whom send us an e-mail with “TheCollaborative.be” in the subject line.

Don’t forget to mention your complete address and why you want to be the proud owner of one of these babies!

Oh and before I forget: Merry X-mass to you all !

The Grid System

The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.
— Josef Müller-Brockmann



Made popular by the International Typographic Style movement and pioneered by legends like Josef Müller-Brockmann and Wim Crouwel, the grid is the foundation of any solid design. The Grid System is an ever-growing resource where graphic designers can learn about grid systems, the golden ratio and baseline grids.

Created by Antonio Carusone, graphic designer and author of the design and typography blog AisleOne.

Mimosa is PANTONE® 14-0848

According to Pantone, next year’s colour is Mimosa or, PANTONE® 14-0848, as it’s known to its friends…

“In a time of economic uncertainty and political change, optimism is paramount and no other colour expresses hope and reassurance more than yellow,” Pantone says.

“The colour yellow exemplifies the warmth and nurturing quality of the sun, properties we as humans are naturally drawn to for reassurance,” explains Leatrice Eiseman, executive director of the Pantone Color Institute in a press release. “Mimosa also speaks to enlightenment, as it is a hue that sparks imagination and innovation.”

Mimosa is, apparently, “a versatile shade that coordinates with any other colour, has appeal for men and women, and translates to both fashion and interiors. Look for women’s accessories, home furnishings, active sportswear and men’s ties and shirts in this vibrant hue.”

via CReative Review

How to be a Graphic Designer, Without Losing Your Soul

Graphic designers constantly complain that there is no career manual to guide them through the profession. Now, design consultant and writer Adrian Shaughnessy draws on the wealth of his experience to provide just such a handbook. Aimed at the independent-minded, it addresses the concerns of young designers who want to earn a living by doing expressive and meaningful work, but want to avoid becoming a hired drone working on soulless projects. The author offers straight-talking advice on how to establish your design career and practical suggestions - that you won't have been taught at college - for running a successful business. Within each chapter there is inspirational guidance from a range of international designers who cite their personal mistakes and experiences, as well as a chapter of one-on-one interviews with 10 leading designers, including Neville Brody and John Warwicker.

How to be a Graphic Designer, Without Losing Your Soul
by Adrian Shaughnessy

Superlover Superhero

Far more than the best I've ever seen...
Superlover, Australia

Justin Maller, a.k.a Superlover, is founder of the depthCORE initiative and has worked with DC Shoes, Lee, Quicksilver and Computer Arts Magazine. His photo manipulations often blend human subjects with chaotic abstract elements resulting in a style that is uniquely his own.

Read his interview with PSDtuts

Sara De Bondt

Interview met Sara De Bondt van Grapplica, via Vimeo.

Michael Paul Young

Very nice bloglike showcase!



Originally born and raised in Tennessee, Michael Paul Young currently calls Bangkok, Thailand home. Michael started his career as one of the directors at the progressive firm Vir2l which was world renowned for rethinking web design from 1998-2000. In 2000, he left Vir2l to start the prestigious design firm WeWorkForThem that has worked with companies such as MTV, VH1, Ford, Coca-Cola, Pepsi, HP, Apple and Microsoft. Since then, Michael has also founded, managed and directs daily the world renowned online design shop, YouWorkForThem.

While not working in the commercial industry of graphic design, Michael’s online project Designgraphik has been at the forefront of online-interactive art since 1998. In 2001, at only age 23 he was nominated for the highly prestigious Chrysler Design Award, typically reserved for architects. Michael’s innovative work online and in video have been exhibited around the world from America to Asia and Australia to Europe. He has gained notable awards (Clio, Cannes Gold Cyber Lion, Art Directors Club) from many festivals and competitions.

Michael continues to work daily as an artist, designer, photographer, director, producer and programer.

Ford Brazil

The idea behind this site is to transform the user into an insect, which allows the user to explore the car and all it's details. Check out at It's clicktime

Some very nice work by Brazil designer Vincente Silva e Silva