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WORK/LIFE FIRST EDITION

This is the cover of the First Edition, illustrated by Darren Booth

PRAISE FOR THE FIRST WORK/LIFE

This book is so much more than eye candy; it is a feast. With luscious illustrations and photography backed by engaging profiles, it’s a peek into the creatives’ studios and sketchbooks, giving a sense of their process. It feels so intimate it’s almost a guilty pleasure. Every detail is considered, thought out, flawless, and is there only to enhance the great body of work exhibited by these exceptionally talented artists. Congratulations Janine for the idea, the design, and for enriching our lives with art that is beautifully brought to our doorstep.

—Zahra Al-Harazi, Foundry Creative Inc


Our studio gets many illustration and photography promotions, and it’s unusual that we keep any. This one was different. I saw many copies on designers’ desks in my own studio. The editorial format was fresh and engaging, and the design was elegant and understated, allowing the photography and illustration to shine. The juxtaposition of illustration roughs and studio environments against the finished work added great insight into how illustrators work. Also, the writing is credited to the designer, a rare combination of talent in one person.

— Carey George, Up Inc


I don’t often keep illustration or photography directories, but I kept this one on my desk. The size and weight of the book are fitting for a novel, which reflects its added benefit—it is full of stories. It’s visually compelling. Each artist has been interviewed and their story accompanies their work. The typography is clean and unobtrusive, which enables designers to easily visualize how the illustrations or photos would work in a layout.

— Pamela Lee, Samata Mason Design Inc


Without the shadow of a doubt, this document proves that placing artists in their environment is an appealing approach. Work/Life offers a close-up look by inviting us to see their work behind the scenes. Using uncoated paper helps to immerse us in the day-to-day practice of their craft.

— Vincent Martel, Communications, Cirque du Soleil

« Maybe in forty years... | Main | Star Trek »
Sunday
May102009

Lens Flare

The new Star Trek is quite interesting from a visual design standpoint. Lens flares, light halos and small reflections appear everywhere. It gives the film a clean, high-tech appearance, as though the we're watching it through a thin layer of glass. The effect is sometimes distracting and used perhaps too exuberantly, but in reading JJ Abrams' explanation about the effect and how it was done, I can appreciate this artistic decision even more.

"The flares weren't just happening from on-camera light sources, they were happening off camera, and that was really the key to it. I want [to create] the sense that, just off camera, something spectacular is happening. There was always a sense of something, and also there is a really cool organic layer thats a quality of it. They were all done live, they weren't added later. There are something about those flares, especially in a movie that can potentially be very sterile and CG and overly controlled. There is something incredibly unpredictable and gorgeous about them. It is a really fun thing. Our DP would be off camera with this incredibly powerful flashlight aiming it at the lens. It became an art because different lenses required angles, and different proximity to the lens. Sometimes, when we were outside we'd use mirrors. Certain sizes were too big... literally, it was ridiculous. It was like another actor in the scene....

So it was this ridiculous, added level of pain in the ass, but I love... [looking at] the final cut, [the flares] to me, were a fun additional touch that I think, while overdone, in some places, it feels like the future is that bright."

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