Tag: CreativeDirection

studium insights #02

Mapear : Olhar para um percurso como uma fonte de informação capaz de gerar infinitas variantes de uma solução aparentemente linear. Mapear como o ato de falar, mapear como forma de descrever e endireitar linhas que por vezes nascem concêntricas, disformes, convergentes, divergentes, lunáticas ou até mesmo paralelas até atingirem uma leitura sequencial dos factos, até se tornarem num mapa esclarecido.

 

quando o mapa ganha forma também se torna guia

 

Na prática, no campo criativo, a destreza do mapa segue-nos como uma linha de vida que descreve o objeto, a intenção e o percurso percorrido ou ainda a percorrer. O mapa visual torna-se num aglomerado de informação explícita tanto quanto de informação implícita para a crítica, para análise, para os criativos e para os clientes. O mapa é para a prática do studium uma forma de dissecar e de fundamentar o mais ínfimo pormenor na leitura do projeto ainda antes de o desenvolver.

 

Catarina Rodrigues . diretora criativa studium

creative direction on SYSTEMS AND METHODS / SISTEMAS E MÉTODOS #01

SISTEMAS E MÉTODOS

parte #01 : o que é um sistema?

“A system is a group of interacting or interrelated entities that form a unified whole” — wikipedia

Por sistema entendo os diferentes componentes que geram uma relação entre elementos, temas ou princípios proporcionando uma linguagem narrativa capaz da maior abstração tanto quanto da maior configuração possível ou imaginável.

 

A prática do sistema é uma realidade comum na abordagem dada aos diferentes projetos das áreas de arquitetura, design gráfico e design web. O foco do sistema é a capacidade que este tem de se adaptar, renovar e reutilizar, demonstrando sempre que a sua existência comprova-se da teoria à prática.

 

O grande objeto de estudo studium chama-se SISTEMA METODOLÓGICO, aqui fica o seu resumo : 

 

O que é? O seu nome explica-o : é um sistema.

 

É o conjunto de informações, aplicadas a um método, de relevância teórica e prática, construído a partir do desenvolvimento racional de um processo sequencial, em qualquer meio, tema ou ambiente de trabalho.

 

É a descrição da minha abordagem metodológica, sobre a implementação dos fatores autonomia e decisão, tanto a grupos como a indivíduos que assentam a sua atividade em estruturas de conteúdo crítico e criativo. Esta é a abordagem que permite estabilizar uma forma de estar, pensar, projetar, criar e produzir. É em sim, uma forma de ser.

 

De base procedural, o sistema metodológico visa a ativação de um conjunto de premissas, implícitas e explícitas, na perspectiva da auto-verificação e sempre através do caminho da irrefutabilidade. Neste sistema, o gosto e a estética são apenas o resultado da abordagem do autor e nunca os fatores últimos de avaliação de uma solução. Assumir a presença de um algoritmo aberto nesta metodologia, permite que o sistema utilize a progressão matemática como auxílio ao desenvolvimento do projeto e é este apoio sustentado, proporcional e percentual, que gera a análise tão ou mais importante que a atividade criativa, bem como a noção concreta do seu resultado. Sem limitar direciona, aponta e orienta, seja o rumo ou o ritmo pretendido e sempre dentro do contexto em que se aplica o binómio tempo e custo.

 

O sistema metodológico foca-se na estrutura e progressão do processo, no raciocínio cumulativo e procedural que pode ser aplicado a tudo aquilo o que pretendermos, precisarmos ou procurarmos e pela sua universalidade atual, a um largo e complexo espectro de atividades.

 

Este documento gera a normalização, pela sistematização, da conclusão simplificada da abordagem racional do ato de decisão. Insinua uma abordagem, perfeitamente livre e sem condicionantes, construída sobre um conjunto finito de etapas, procedimentos, ações e iniciativas que estruturam o processo criativo e crítico, o humano criador e o resultado, como se de um processo orgânico se tratasse.

 

Do ponto de vista da direção criativa não há nada mais relevante do que  a implementação das boas práticas junto de uma equipa criativa ou de produção. A sistematização distancia-se de qualquer processo mecanicista e assume sim uma perspetiva baseada em lógica, em processo e em acumulação de informação. Este é o primeiro escrito sobre SISTEMAS studium.

 

Catarina Rodrigues . diretora criativa studium

creative direction on SYSTEMS AND METHODS / SISTEMAS E MÉTODOS #02

SISTEMAS E MÉTODOS

parte #02 : como uso o sistema?

O sistema como prática é a forma universalizada que encontramos de descrever um  percurso capaz de se adaptar aos diferentes momentos em que a DECISÃO toma forma. Sistematizar, otimizar, incluir o ato racional como matéria do futuro. Não do presente, porque esse é imediato, esse é fugaz e fixa-se num resultado limitado aos olhos de quem não prospeta, antes recebe como definitivo o objeto. 

Se sistema significa o desenvolvimento de uma história, cabe ao projeto saber contá-la, explicá-la, valorizá-la. Assim se forma o sistema, através da assunção de uma abordagem que se desmultiplica em cenários, objetivos, necessidades e vontades. Uma multiplicidade que permite que os termos “monótono” ou “desajustado” não se apliquem. 

 

Como uso sistemas?
Uma pergunta válida para quem se encontra com o studium.

 

A resposta, agora simples, resulta de anos de criação, ajuste, alinhamento promovido pelo autor e agora alimentado pela direção criativa. O mais recente exemplo foi aplicado ao contexto do ensino, onde o tema “O que é um processo de decisão?” se apropriou do SISTEMA METODOLÓGICO, a peça última que descreve e explica a forma de tratar cada projeto com a relevância necessária.

>>>>>>> Aqui, o link.

 

Catarina Rodrigues . diretora criativa studium

dores de crescimentos

Manifestamos desde cedo a nossa opinião, a nossa posição e alguns — a nossa ambição. Crescemos e aprendemos, pelo que vemos, pelo que nos mostram e pelo que nos ensinam. Formatados, formatamos o mundo numa perspetiva (ainda) curta do que queremos ser, como queremos ser. Academizados, na maior parte do tempo, entramos na idade adulta com a jovialidade de ver no exemplo por cópia, o exemplo do que queremos ser. Depois disso, dá-se um ocasional estado.

O cérebro, apto a tal, coordena-se numa dança peculiar, abraça e repudia vontades, desperta para o estado verdadeiro, aquele que traz dores de crescimento; aquele que se instala poucas vezes, porque conheço poucos que se dedicam a ouvir a sua própria voz, a sua consciência. Passei e passo por esse estado, vivo com a certeza que a maior parte do que sei, do que quero saber, do que me interessa é acima de tudo, aquilo que me permite olhar para mim e para os outros com a vontade da vitória; de ser algo para lá de um nome; uma posição.

Esse ciclo dói. E cura. Volta a doer e nesse balanço entre dar e receber (diga-se a mais justa e bela forma de ver a vida, obrigada Variações), encontro o estilo de vida que alinha o trabalho com as ambições, com a dedicação dos outros e para os outros, com a criação de estados sempre melhores, sempre maiores. São dores de crescimento para quem sente a sua realidade desligada do academismo que justifica tudo, excepto aquilo que não nos dá, nem nos ensina ou dispõe.

O meu contexto profissional é também o motivo para poder falar e escrever de uma forma concreta sobre o que observo num mundo cada vez mais dedicado à resposta imediata, ao resultado instantâneo. Isso é errado, para mim pelo menos, para mim é melhor a perceção do que fui capaz, do que sou capaz e do que tenho e devo passar aos que me rodeiam. Tenho 29 anos, gosto de ver, de observar, de entender. De tudo o que faço tive a experiência de passar por diferentes processos, abordagens, responsabilidades e sensibilidade. Gosto de me entruzar com questões simples que mostram que nada, nada na vida, nada, em nenhuma profissão faz sentido se a luz consciente que define o facto de querermos ser mais (uma existência consciente, um marco, um dado concreto), não nos atingir o coração, a consciência e uma mão cheia de força só para que todos os dias haja mais uma boa dor, porque cresci.

Catarina Rodrigues, diretora de arte do studium

Um artigo sobre a vida, a visão, a profissão e o crescimento

et voilá – a (nova) cervejaria do norte

E inaugurou no dia 16 de Fevereiro a tão esperada #Fábrica de Cervejas Portuense , a mais recente indústria no centro do Porto, a casa-mãe da Nortada!

É o culminar de um projeto que envolveu valências como identidade, branding, comunicação, design de produto, arquitetura, interiores, mobiliário e web, um verdadeiro desafio que o #studium® abraçou com toda a dedicação e apostou todas as cartas, com o objetivo máximo de oferecer uma envolvente e única experiência cervejeira.

As texturas rudes, a materialidade tradicional do Porto, as cores da marca, o ambiente puramente industrial do piso -02 – que contamina todos os espaços até às águas furtadas e que ultrapassa os limites do edifício – emanam a fusão da alma portuense com um coração cervejeiro que acontece neste edifício dos finais do século XIX.

Como encerramento deste projeto tão complexo, que envolveu todos os membros da equipa e que gerou um volume imensurável de informação, o #studium® está já a partilhar uma publicação, dividida em #05 fascículos que sintetiza a multiplicidade de momentos que levam ao que podemos experienciar hoje. Tudo em versão online e em breve, impressa.

#studium #product #design

What is product design is a question that crosses several borders, ranging from new domestic needs and crafted production, production techniques and industrial enhancements, to the authorship or ownership of a particular design. The tech industry is also rising as key player in this field, with the presentation of modern digital products that even go beyond physical reality such as augmented reality and three dimensional vision devices.

So what’s the role of product design and consequently of the designer in the actual process of creation? What does this means to the venustas, firmitas and utilitas of our creative and technical decisions. (1) Can we as consumers make the right choices while someone as a creator doesn’t know our taste, preferences and financial availability? Worst, he thinks he knows! Will the creation as an inspiration from an individual mind, curating a brand or a collection continue as the standard for our needs?

I know this approach is obsolete. As long as we deliver only the closed end result we are going to become an extinct choice real fast. From experience i also know that people, clients, consumers want to expropriate the ownership of the design from the source, and they should. That specific product (logo, site, house, table …), when acquired, is now living in a specific context that can surpass its basic intended function and become a categorised part of the life of the owner. For a better understanding, as context, i’m not talking of products that are design creator anonymous or even cultural patterns of behavior such as regional crafts or traditional items, i’m talking about an intended commercial commission, order, buy or placement in a specific market. Objects should be free to be acquired in more ways than just its functional aspects. The limit should be where good, appropriate, usable and open design stands its point of opportunity to the consumer.

I’m used to putting the problem always on the professional. The usually egocentric, egomaniac and frustrated creator that intends to put his mark in every space in the world. The same that doesn’t realise he is being left being by is own dogmas on how design should complete our pseudo formated life. People are beginning to deviate their thoughts on the role of the designers just because they keep forcing renovation disguised as innovation and don’t present really significant and innovative concepts to our actual use of them. This, fortunately is not the rule and some keep pushing the envelope while being misunderstood as experimentalists. The thin line between consumer and experimental design is being erected as a concrete wall by the ones who should be diluting it, world brands. This theological entities resume advancement in how long a piece can stay in the catalogue or how many times can a initial idea be reproduced. Money, money, money! Ok no problem living with that, but what about power, the power that gives the consumer a choice of extinguishing the product on its first use or adapting it to the ever changing needs of an individual?

I don’t believe in the death or extinction of a professional or his field of work. I don’t believe professions become obsolete with time. Do you think an executioner of the medieval times has ceased to exist? Maybe he just evolved to a more “civilized” form of practice. As an evolutionist I know that it ramifies in the rational obligation to become a man of the present context. Even executioners exist nowadays! And so do designers! The ones that are generally generic in the perception that we have from all of them. Graphic guys make colored pictures. Web guys make animated clickable screens. Product guys make chairs that break. Architects make houses and museums that everybody hates.

No! It’s wrong to think of professional designers this way. These guys communicate with a selected audience defined in a targeted strategy and using the tools they have refined through a curated or experienced process over time. They do what consumers can’t, and in most of the time, others, neglect or disrespect. But, they will be extinct if they don’t think outside the limited approach they know and defend until now. I laugh when we see solutions to this global problem starting in the blend of the opinion from the general audience, translated in data, as the references for an informed creative decision as a key factor as if it was the new theory of creation. This is not a solution but a marketing algorithm. This way they will become a tool than can be far better replaced with a machine.

So, where is the interpolated point of distinction? The disruptive point where the new creators should place themselves and become an intrinsic part of the future needs of our creative society?

Until today people saw only a few number of individuals that could develop this roles as one entity. The educated, always informed, sometimes overwhelmed avid knowledge seeker is becoming apparent in our society, curators. I use an expression that relates to this subject rather appropriately: “…Jack of all trades, Master of none.” By no means decreasing the importance of a real specialist in a given field, there has to be the enlightened individual, the one that can gather the precise amount of disruptive information from a specific field into a broader picture. The renaissance masters are a perfect example of this approach, as collectors of knowledge, they had access to limited amounts of information and knowledge and could master the key aspects of their expression while tying all the ends in a new adaptive way of seeing technology, art, and product design. Today however, with all the knowledge and information available at a distance of a glance we should relate to this quest to control it as indexers and juggle information as a master of micro decisions which are of use as only critic sources. Creation can be an experience of connecting dots between the briefing, the idea and the concept to achieve to solution for a specific result.

I know for experience that broadened skills are the way to control a larger audience and possible scenarios. You just need to use much more than the current 10% brain power humans use in order to do this “anything everything” hypothesis real. Dealing with a problem can be a source of even more problems and to avoid that you must have a process. I have and use one! My one!

Presenting a solution and believing in the achieved conclusion should be an intermediate moment to continue research, validation and test. This is needed in part because the problem is always changing, therefore we should face the evolution of the solution as a cycle of eternal loops and development and also because designers don’t have the inherent critic ability to create generic design products and think of them as good design. They make a simple mistake by assuming that an universal item is not design and don’t even try to understand that same question as a catapult for inspiration and evolution of the most common things we take for granted. A table will always be a table but the function and configuration through time as changed ubiquitously and continuous to do so. Not only in the collection of more and more shapes and finishes but also in functions, uses and configurations. Just look at the way we use products beyond their first use now, listen and buy music, send a written message to someone, buy whatever you want and where we do it, change our minds about taste and fashionable items… Our taste deteriorates inversionally proportional to the time we spend with objects and uses.

Product design is an approach in itself. What to think and create, about a given subject shouldn’t be a manner of individual needs but a medium to the generic user of the object, the function it needs to cover and most of all the longevity of the design process. The problems are perfectly identified and most of them solved, i just need to show you how you can apply the solution.

Hey designer, put yourself in the beginning of the loop and change the way you show ideas you have and think about the supposed concept you are trying to apply as a solution. Become a tool for your audience to discover new products instead of becoming the inanimate joint, button, or package of the product. Think about the experience you’re about to create. Talk to your audience about it.

 

EXPERIENCES ARE THE NEW PRODUCT DESIGN and i (as a caretaker, as a curator of minds and problems, expressing invisible design through your own eyes) am the media that will show you how.

 

cover photo : https://www.flickr.com/photos/sergesegal/

posters bombarda

BOMBARDA POSTER COMPETITION and the WHICH STEP TO ART, COMPETITION AND CONCEPT?

The art district look alike

Art districts and urban interventions are a common way to tell people your feelings, how you see society, how you wish it was. Through art and conceptual expressions.

Graffiti, illustrations, painting, graphic design, architecture, digital media, photography, music and even food can be used as a medium to all these manifestations of intended results. As one or as individual parts a broader act, every one of them can be seen, felt and heard by millions of us, in the known places – the street, art districts, buildings, bridges, railways, and even art galleries. All around the world, people spend increasingly ephemeral time on these kind of moments and that’s where i identify the value of it – everyone is invited to participate and also knows it will end in a defined date. This permanent cycle of inaugural ideas and actions around these events work like playgrounds for informed adults in the city. For fun, for discussion, for culture, to bring together people and to identify groups within our society.

For as long as people get into the teasers, these placed events create, they will always be the perfect target to point your arrow to. How to get into the mind of the right audience, right into the heart, and find the curiosity of the conscious is the problem… I need to create a manipulative and directional way to talk to them with art is assumed as the motto and graphic design as the tool to it.

Competitions and lobbies

When a competition is launched, there are a lot of parameters that must be taken into consideration to assure the position and respect of all entities involved. Some guidelines should come from the recognised associations that regulate the creative profession (AGI, ICOGRADA, ICSID, IFI) and generate an impartial bases of equal access to the competition.

We should be able to recognise :

  1. participant . the area formation must be clarified;
  2. intellectual propriety . the contest can’t take away the propriety of its owner;
  3. jury . it must be composed by 5 members at least and they must be described;
  4. prize . must be higher than a normal paid work to an artist;
  5. deadline . must be from 3 to 6 months.

Obviously some of these “ideal” rules are not applied in real life and i can assure you that most of them can be, as easy as wanting it. And here comes the lobby!

This concept comes from the fact that most of the times the competitions are hidden by the mask of academic innovation when in fact, the organisers are not that interested in having real good work from people who face it with the depth and delivery needed to present a very good result. The lobby is made by the kind of people that are “destined” to fulfil the preconcepted expectations; they will give what these competitions and juries expect to.

This fact seems unfair to any other participant, if he is able to be an active resource to the cultural action of critical evolution. The ability to create concepts, to develop work through different and explained stages of development are underestimated and the best approach can be much more valuable than some artificial productions that we see advancing every day as solutions. So are this approaches fakes? Most of them are. Why? Because there is not enough courage to accept new visions on global inter minded communications, the one that can really involve and evolve different targets, different spaces, different media in the small players of the game, the unknown, the anti lobby or even the young, creatives.

You can use your free will and tell me : “If you don’t agree with it, simply don’t enter it!”, and yes you are right, but i can also have a shared opinion that can make you understand that design and creation are not able to be seen with the discredit of a simple and isolated visual solution in the form of a single fotogram.

I know that it takes much more than lobby, luck, instinct, talent to create. Therefore I prove you wrong, simply applying my method, in which i present the stages of creative development to much more than the end result.

  1. The Briefing . CA . Critical Analysis
  2. The Structure . BP . Base  Programming
  3. The Concept . SD . Schematic Design
  4. The Project . DD . Design Development
  5. The Material . D . Details
  6. The Conclusion . TA . Technical Assistance
  7. The Media . PU . Publication

Seems hard? It is not, but requires experience, method, discipline and this precious thing called time management. And yes, I do not want to be just a drop on an ocean of option provided by 1000 people, I want to be carefully selected, I want to be taken with the importance of my work and so I do not accept to fit myself on these preconcepted ways of dealing with creativity.

You choose, so choose well. Choose to say no, to say yes and assume your place in what you believe.

My steps, I would give them to you…

If my life wasn’t about everything that surrounds me, the things that follow me to the most important state of mind: awareness. I could give you a million options for the same project, and still I can just because my creative mind exhales solutions. But I don’t do that, I am a studium ® creator, I have a critic and unique way to see through, to see above, beyond and further in time. Like Jagger, I can’t get no satisfaction and so I live by my own steps (the ones above!).

Recently I was confronted with an Art District Competition, asking for 6 posters that should be the graphical teasers to communicate the seasonal art galleries opening. Great, I love to work for massive amounts of people. But, what about the prize? and the deadline, and the intellectual propriety, and my signature? and my concept explanation? Whaaaat…? Yeah, all missing and going in the wrong direction of creative evolution and respect. A lame prize, a tight deadline, the mandatory obligation to give my work away, no explanation possible to the general audience. Authorship? So, in the end, you would see a serie of posters, made by someone, to that year events and that’s all you’ll see. From an organised cultural movement dedicate to the dissemination of cultural art forms to the inhabitants of the city of Oporto i was expecting more.

Thinking about the meaning of this Art District openings, I know exactly how people walk through and to that specific area of the city. The narrow streets, the typical Porto housing style and the traditional, unique people. That made my concept, a special opening day where everything is openly wide to take you there; a brave yet simple way to share with the others, to bring culture to us, to take culture from them.

A map. Guided by my feet as I walk from a space to a place, from a gallery to an urban fair, from my friends to my wife, from the coffee house to the music installation.

I WALK, I GO, I AM MAKING MY OWN CITY MAP. I GUIDE MYSELF TO THE CULTURE, I AM CULTURE.

But my proposal was more than that, I also want to mark it all, I want to guide people.

walking through my city . studium 

My value resides in the way I go through projects, my enlightened vision of apparent nothing, that is instead, everything. Let’s bomb it by spreading this notion of responsible decision taking about the way we should be seen as creatives.

 

Sérgio Magalhães

Creative Director

creative direction #05 HOW TO TELL A STORY

When, on the way through an unique singular path we assume challenge as a vital part of evolution, we also provide ourselves a need to be fulfilled with innovation, pride and above all critic.

Usually, progress is seen as a natural and assumed part of the creative group, where millions of minds naturally accept that, changes can happen and the opinion of the most is stronger than the few. This, generally happens, not by their perception of it, but by the natural need of acceptance and of belonging to the common preconcept or universal truth. Recently, as a medium for measuring progress, technology has taken over as the central core of dissemination and evolution, as if it was some kind of new way we all need to accept, to keep living in orderly social manner as integral part of the world. It is in technology that nowadays this acceptance and dissemination of the unquestioned universal truth travels to us.

And I know that that is Wrong…!

Why? Because the only thing people call progression is different from what should be a self aware vision of things, objects, feelings, tastes or contexts. They don’t feel it like an addictive urge to get new, innovative, more and individual. They know, by general standards that there is always room for improvement and that everybody can achieve and all that BS, but all depends on the approach in which we choose to complete our self critic, general critic or the open opinion about a subject. This is really hard to do, and the most part of it is self inflicted pain while get to know the reasons to become bigger or accept normality. The one that needs to be an act of brave decision taking, based on a life changing way to see what is around us. I see it in two different yet complementary ways.

Pragmatic?

Yes, everyone is embed in a life where pragmatism is seen as the most powerful and smarter way to get through daily questions; some are complex enough to get us excited but most of them aren’t. Will this position take you further? Are you willing to go further than the horizon, to reach the line in front of your eyes, with a solved equation of success, written by others, in your forehead? Will you ever see the horizon?

Pragmatism is a readable and steady way to say yes or to say no. A vision that has no way to get wrong. It is what it is. The sun is yellow, no doubt about it, right? I know that everything is questionable, but for most, this is a given concept. The sun IS yellow.

This type of alignment can be very useful when we talk about being solid, coherent and logic, we need it, we need the insurance of blue skies, we like to know exactly how it is going to happen, we like to feel like FORTUNE TELLERS. And that brings us a peaceful and relaxed feeling to our blood. So why question? Why boil?

Story?

Oh Yes! as creative creators, we do have some other ways to see things. A leaf on the ground is not just something that has fell from the tree. Why did it fall? How did it fall? For what did it fall? Most of the times we design a scenario for things to come, just like rays of information, small inputs that pierce our bodies to reach deep in your mind. Adding value as hardly an aware Man can devoid himself from being different. Share a story, tell your concept, create, create better, create more, but do all ways create.

To tell a story can be much harder than just start questioning others. We don’t have the same wave-length in understanding concepts and we are completely different from each other, from men to women, from masters to dreamers, from 100 to 1, and the challenge is right HERE.

I don’t want to tell you simply that “my bike is red and i love driving it”, I want to let you know that i have a bike, yes, I do and it is red, why? Because red as a color, pumps my blood and i love driving, and guess why? Because it releases my soul.

This is a story, a collection of seemingly disperse concepts, one that you might have no time to hear or think about. But the one that will let you get to me. I admit I have an open chest, but only a tiny whole, and you can see through it… And the funniest part!? I will not give you the code of my colours but I will let you discover it, just see the story.

Mankind!

It is very tricky to persuade someone to think when that same person have the chance to get the prize without a mind effort. So how can you manipulate them in actioning the search for an expected result? I can start by saying and showing you that (when in a appropriate context) going through a path is much more enriching than simply arriving at the desired destination. The prize is the key for engaging audiences in storytelling. People like compliments about achievements and we can translate discovering creation into rewards. In architecture, graphic and web design, and product design, the way you catch your audience is direct and proportional to the way you can reward it with a given and expected result through a prize.

In a recent event, a given project was a solved equation of normality and resistance to evolution. Everybody saw what everybody was expecting, and nobody, except the creator, agreed on a different status and state of communication. I had to intervene and direct the group onto innovation. Why give it all away at the first glance? Nothing wrong about it, but what defines me is never the layer that is at surface isn’t it? Why not tell a story and transform a simple graphic identity in a much valued and rich concept of communication through a system of idea making and reward generating entity? A living, evolving, adapting and never ending (much more than we were taught to identify as technicians) story!

Am I odd? yes, of course.
Am I looking for innovation? no doubt.
Am I going to reach all of you? no way.
Am I accepting a different way to see? that’s my life.

 

I am studium, an assertive blend of rigorous vision, passion and oddity.
All ways, every day.

Sérgio Magalhães
Creative Director

Thank you Catarina Rodrigues, Creative Creator.

nigel stanford #CYMATICS

From the album ‘Solar Echoes’.
NigelStanford.com/Solar_Echoes

Download the video in 4k. All of the science experiments in the video are real. Watch behind the scenes and see how it was made.
NigelStanford.com/Cymatics

Facebook: facebook.com/johnstanfordmusic
Twitter: twitter.com/nigel_stanford

Directed by ShahirDaud.com
Cinematographer: Timur Civan timurcivan.com

 

creative direction #04 WIN

There’s only one ambition in life. Win.

The ones who say less from this are losers. They are not by any means wrong, less human or less accepted as social parts of a heterogeneous society. They are simply not winners.

I am a winner. I always want to win. I am competitive. I choose my wins. I accept defeat only to learn how to win. I know how it tastes.

How

  1. You need to be in control of your area of expertise in order to rationalize your weaknesses and strengths, before entering your battles and prevent them to even happen at all.
  2. Minimizing your losses will never make you win with grandiosity.
  3. Step outside yourself and observe the horizon above others in the edge of the cliff.
  4. Take defeat for granted and advance systematically to victory.
  5. The first image in the mind of others is not what you have achieved but the way you look and present yourself to the world.
  6. Achieve success in the success of your projects and don’t focus on happiness.
  7. Know yourself before knowing others because you will have to play them both.
  8. Learn something new everyday.
  9. Age doesn’t give you maturity or experience.
  10. Predict others in the scenarios that are only favorable to you.
  11. Arrogantly tell others what you see if you’re sure about your opinion and have weighted collateral damages.
  12. With your choices comes consequences and that’s why its your responsibility to control every surrounding you may find yourself in.
  13. Loose the biggest amount of time with the solution and not with the problem.
  14. Control your temper and keep others in a deductive focus from deep inside of you.
  15. Lying is not an option about protection but a dangerous tactic of attack.
  16. Logic is a great weapon of self destruction when alone in the room of creativity.
  17. Rules are made to be broken when followed scrupulously and can surprise others with evolution and adjustment.
  18. Observe people interact with life while mirroring their thoughts in your mind.
  19. Entertain yourself in your private, intimate and reserved life with whatever suits you best.

Have fun with class.

Sérgio Magalhães
Creative Director

©‎ cover Brad Hagan