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My client's bridal shower invitation was used for the inspiration. ...fuschia and light pink damask.
Ottograph, a large-scale mural painter, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
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Dutch pop-art painter Ottograph.
Ottograph who graduated from the Rietveld Academy in Amsterdam, started to paint at the young age of ten, he liked the idea of painting on the walls of the streets of Amsterdam and has never stopped doing so. Now Ottograph’s art can be seen in galleries, on wall’s, in bars and shops around the world and not to mention the wall’s of the Modern Art Museum of Antwerpen, MoMu in Belgium.
Ottograph’s work is full of color and life. What Ottograph paints is something that reflects to society in general and is something that people can relate to.
On his own or to gether with his fellow artist/friends Ottograph has also set up several successful projects such as CIA (Central Illustration Agencey), which speaks for it self as well as KMDG a group of artist with a backround in illustration, graffiti and street-art who bring together artist from around the world to paint walls and commissions together.
Over the years Ottograph has accumulated several important client’s such as Nike, Mars, MercedesBenz, and Apple i-pod and i-phone just to name a few…
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In Las Palmas noemen ze alle VJ's VJ. Behalve Ottograph, dat is de Kunstenaar. Zijn voornaamste bezigheid is namelijk schilderen, en dat zie je terug in zijn animaties, waarin beeld - en niet techniek - de hoofdrol speelt. Ooit was Otto Kruijsen, oftewel Ottograph, nachtenlang in de weer met spuitbussen, om een vette piece neer te zetten op trein of muur. Daar kreeg ie genoeg van, en na diverse omzwervingen meldde Otto zich in 1993 aan op de Rietveld Academie, om schilder te worden. Al snel besefte hij dat hij allang wist wat hij wilde en kon, en helemaal geen zin had om voor de zoveelste keer van voren af aan te beginnen. Tabe Rietveld dus. Een goeie zet, want sindsdien is het Otto voor de wind gegaan.
Zijn eerste expositie, samen met een paar vrienden, was een groot succes: ze verkochten hun doeken in een galerie verbouwd tot supermarkt, met o.a. een echte kassa bij de deur. Naar aanleiding van deze expositie werd Ottograph gevraagd om prints voor t-shirts en kleding van Bodyglove te ontwerpen. Een toffe maar heftige job, omdat hij alles met de hand deed. Hierna schafte Otto de computer aan. Vele ontwerpopdrachten volgden, en Otto leefde zich jarenlang uit in illustraties en logo's. En hij legde zich toe op het VJ-en. Het schilderen verdween in die tijd naar de achtergrond, de reden waarom hij het ontwerpwerk en illustreren op den duur weer heeft afgestoten.
Waar ben je tegenwoordig mee bezig?
Ottograph: "Ik focus me op het schilderen van grote doeken, die ik exposeer. In galerie Vips in Rotterdam hangen bijvoorbeeld doorlopend doeken van mij, maar ook in galeries in Amsterdam en Den Bosch. Vorig jaar had ik nog een expositie in Rome en deze zomer zelfs in St. Petersburg, waar ik erg blij mee ben. Op dit moment heb ik een expositie in de Bijenkorf Amsterdam. Er hangen schilderijen in de galerie, en in de Chill Out kun je jassen en petjes kopen, waar een zeefdruk van mij op staat. Afgelopen zomer heb ik meegedaan aan een kunstproject waarbij zes kunstenaars ieder een tent beschilderden, die op diverse festivals te zien waren, waaronder Lowlands. Vrij recent heb ik ook nog een auto beschilderd, voor een open dag van een school: de kinderen mochten met Ottograph een auto beschilderen. Dus ik ben met een hoop dingen bezig kun je wel zeggen."
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Ottograph, a large-scale mural painter, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
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Otto Kruijsen (Ottograph3000)
>> voorbije exposities / past exhibitions
Over de kunstenaar
Woont en werkt in Amsterdam.
'Een pseudoniem biedt geen specifieke voordelen', zegt de kunstenaar die sinds 1993 opereert onder de naam Ottograph Speciale Service, maar 'ik probeer een beetje mysterieus te houden wie of wat er achter Ottograph zit, alsof het een soort kunstbedrijf (factory) is.' Ottograph is actief op het grensgebied van design, illustratie en beeldende kunst. De grens daartussen is aangenaam vaag: een illustratie, gemaakt voor een opdrachtgever, kan geïsoleerd en uitvergroot een tweede leven als kunstwerk gaan leiden. De beelden die hij maakt, zijn strak en clean, tot het uiterste gestileerd en vaak in felle kleuren uitgevoerd. Ze hebben de aantrekkingskracht van logo's, die er zo vanzelfsprekend uitzien alsof ze altijd hebben bestaan. Als illustrator en ontwerper werkte en werkt Ottograph voor onder meer Microsoft, Nike, Panasonic, Ford, Mercedes-Benz en Nieuwe Revu. Zijn bekendste bandlogo maakte hij voor de groep Junkie XL. Over zijn favoriete logo's zegt hij: 'Het is misschien een cliché, maar ik ga voor The Beatles en de Stones. Die 'T' van The Beatles is heel radicaal.
Over het logo van de Stones kan ik kort zijn: een monument. Net als Coca Cola en de 'M'-arcade van McDonald's.' Zijn opleiding kreeg hij op straat, 'tussen de metrostellen.' Op zijn tiende begon hij met graffiti op muren en treinen. Daarna begon hij op doek te werken. Hij zat een jaar lang op de Rietveldacademie in Amsterdam, maar dat was geen succes: 'Veel te soft.' Die kortstondige opleiding en enkele computercursussen niet meegerekend, beschouwt hij zich vooral als autodidact. Gevraagd naar zijn belangrijkste invloeden somt hij op: 'Andy Warhol, Jeff Koons, Robert Rauschenberg, Frank Stella, Jasper Johns, Keith Haring, Kenny Sharf. Andere inspiratiebronnen zijn graffiti, films, Afrikaanse, Mexicaanse en Japanse kunst, muziek, grafische vormgeving.' Op tentoonstellingen exposeert Ottograph zowel computerprints als schilderijen. Het een sluit het ander niet uit, vindt hij: 'Ik beoefen ze naast elkaar en ben juist geïnteresseerd in de wisselwerking ervan. Ik ben beter gaan schilderen sinds ik met de computer werk. Daar staat tegenover dat je op de computer sneller je composities kunt aanpassen.'
OUR CLIENT'S CADILLAC CTS-V WITH 20" VOSSEN CV3 BLACK MACHINED WHEELS. CLIENT IS LOCATED IN OHIO. WWW.WHEELSPERFORMANCE.COM
A commission....client's stones. A rather unusual and large (.89 carat) oval diamond in this one. Original pattern carved from Ferris Green. 8.32 grams. Rhodium finish.
This is Peter's first day of retirement - after two weeks' annual leave. I went to a client's garden this morning, cleaned the kitchen this afternoon and then thought, as it was raining, I'll take my camera and mini tripod into the kitchen . . . forgetting Peter was at home and he chose this precise moment to make us a cup of tea. So I abandoned the still life idea and took some shots of him being silly . . . until I espied this - the apple he had cut up and was eating . . . I'm afraid the end of the knife can't be photographed, because Peter one year accidentally put it in the roasting tin with the turkey, and it was only when we were looking for it to peel some vegetables that he said - oh God, it's in the oven . . . so it looks a bit strange now. but it's still loved!
The client's wish was to create a classical 'London Square' for Beaufort Park. Based on a classic layout the park shows that it is a contemporary park through twists in it's design language, like this entrance detail (being design built the during construction the bespoke gates were not installed, hence the oversized uplights of the original design, which were installed after all).
Planting 12m high London Plane (Platanus x acerifolia) and other specimen trees like a 10m high Cedrus libani created an instant impact. Planting is based on plants one can find in classical London squares. The use of extensive lasting and sacrificial ground covers reduces open ground and maintenance apart from being more attractive.
The park was built well before the buildings overlooking the park are constructed so the resident's will start using the park after it has been stablished by the time
Design. Cay-Joachim Crasemann CMLI Chartered Landscape Architect for BML
Entwurf. Cay-Joachim Crasemann CMLI Freier Garten- u. Landschaftsarchitekt
Client. St George PLC London
Atell is an experienced and professional psychic reader and has read for clients worldwide for over ten years. She offers well-rounded readings through her various psychic abilities and a number of tools. Her reading style and caring demeanor is what draws clients back to her time and time again. She’s known not only for her compassion and non judgmental approach, but also for her accuracy.
Gifts and Abilities
She has a number of psychic abilities and is clairsentient (clear sensing), clairvoyant (clear seeing), claircognizant (clear knowing) and clairaudient (clear hearing). This means that she’s able to sense things, see things, know things and hear things during readings. This is how she receives insight into her client’s situation. Her abilities to sense the emotions of others is what sets her apart from the rest, and her ability to zone in on personality traits and intentions often sheds added light on romantic or relationship issues.
Readings are available through Skype chat/video, email, phone, or in person (for local clients). Rates are very affordable to cater for clients from all walks of life or any location worldwide.
Visit her web sites to read client reviews or to book your reading online:
7/27/08--Washington, DC -- Portrait of .
Photo by Chris Usher
Terms & Conditions
[1] DEFINITIONS:
"Image(s)" means all visual representations furnished to Client by Photographer, whether captured, delivered, or stored in photographic, magnetic, optical, electronic, or any other media. Unless otherwise specified on the front of this document, Photographer may deliver, and Client agrees to accept, Images encoded in an industry-standard data format that Photographer selects, at a resolution that Photographer determines will be suitable to the subject matter of each Image and
the reproduction technology and uses for which the Image is licensed. It is Client's responsibility to verify that the digital data (including color profile, if provided) are suitable for reproduction of the expected quality and color accuracy, and that all necessary steps are taken to ensure correct reproduction. If the data are not deemed suitable, Photographer's sole obligation will be to replace or repair the data, but in no event will Photographer be liable for poor reproduction quality, delays, or consequential damages. Unless otherwise specifically provided elsewhere in this document, Photographer has no obligation to retain or archive any of the Images after they have been delivered to Client. Client is responsible for sending an authorized representative to the assignment or for having an authorized representative review the images remotely during the assignment. If no review is made during the assignment, Client is obligated to accept Photographer's judgment as to the acceptability of the Images. “Photographer” is Chris Usher/Chris Usher Photography. Photographer’s relationship with client is that of an independent contractor. Photographer is the sole creator of the Image(s). “Client” is Haymarket Media Group and includes client, client’s representatives and/or the end user (Merkle, Inc.). "Original[s]" are original photographic transparency or film negative. “Duplicate(s)” are photographic transparency or film negatives made from originals.
[2] RIGHTS: All Images and rights relating to them, including copyright and ownership rights in the media in which the Images are stored, remain the sole and exclusive property of Photographer. Unless otherwise specifically provided elsewhere in this document, any grant of rights is limited to a term of one (1) year from the date hereof and to usage in print (conventional non-electronic and non-digital) media in English language only in North America.
Unless otherwise specifically provided elsewhere in this document, no image licensed for use on a cover of a publication may be used for promotional or advertising purposes without the express permission of Photographer and the payment of additional fees.
No rights are transferred to Client unless and until Photographer has received payment in full.
Client agrees that any usage of any Image without the prior permission of Photographer will be invoiced at three times Photographer's customary fee for such usage. Client agrees to provide Photographer with three copies of each published use of each Image not later than 60 days after the date of first publication of each use. If any Image is being published only in an electronic medium, Client agrees to Provide Photographer with an electronic tear sheet, such as a PDF facsimile or URL of the published use of each such photograph, within fifteen (15) days after the date of first publication of each use. Unless otherwise specifically provided elsewhere in this document, all usage rights are limited to print media, and no digital usages of any kind are permitted. This prohibition includes any rights or privileges that may be claimed under §201(c) of the Copyright Act of 1976 or any similar provision of any applicable law.
Images may contain copyright and other information embedded in the header of the image or elsewhere; removing and/or altering such information is strictly prohibited and constitutes violation of the Copyright Act.
All fees and expenses payable under this agreement are required irrespective of whether Client makes actual use of the Images or the licenses to use them. Unless specifically provided elsewhere in this document, no reprographic, reprint, republication or other secondary reproduction usages may be made.
[3]RETURN OF IMAGES: Client assumes all risk for the Image(s) supplied by Photographer to Client, from the time of Client’s receipt, to the time of the safe return receipt of the Image(s) to the possession and control of Photographer. If no return date appears on the front of this Agreement or on any related delivery memo, Client shall return all Image(s) in undamaged, unaltered and un-retouched condition within 30 days after the first publication or use of the Image(s), whichever occurs first.
Client agrees to destroy all images within one week of reproduction. If the images were sent on digital media, all such material must be returned in undamaged condition within 30 days of receipt.
Reimbursement for loss or damage of each image shall be in the amount of Two Hundred Dollars ($200).
[4]LOSS OR DAMAGE: IN CASE OF LOSS OR DAMAGE OF ANY ORIGINAL(S), Client and Photographer agree that the reasonable value of each Original is Two Thousand Five Hundred Dollars ($2500). Client agrees to pay Photographer $2500 for each lost or damaged Original and Photographer agrees to limit Photographer’s claim to that amount without regard to the actual value of such Original. Photographer and Client agree that said amount represents the fair and reasonable value of each item, and that Photographer would not sell all rights to such item for less than said amount. Client understands that each Original is unique and does not have an exact duplicate, and may be impossible to replace or re-create. Client also understands that its acceptance of the stipulated value of the Images is a material consideration in Photographer's acceptance of the terms and prices in this Agreement. Reimbursement for loss or damage of each Duplicate shall be in the amount of Two Hundred Dollars ($200). Photographer and Client agree that said amounts represent the fair and reasonable value of each item, and that Photographer would not sell all rights to such item for less than said amount.
[5] PHOTO CREDIT: All published usages of Images will be accompanied by written credit to Photographer or copyright notice. Credit line must adhere to one of the following formats:
Photo(s) by Chris Usher © 2008 Chris Usher Photography. All Rights Reserved.
If no placement of a credit or copyright notice is specified elsewhere in this document, no credit or notice is required. If a credit is required but not actually provided, Client agrees that the amount of the invoiced fee will be subject to a three-times multiple as reasonable compensation to Photographer for the lost value of the credit line.
[6] ALTERATIONS:
Client will not make or permit any alterations, including but not limited to additions, subtractions, or adaptations in respect of the Images, alone or with any other material, including making digital scans of Originals unless specifically permitted on the reverse side of this Agreement with the exception of cropping and alterations of contrast, brightness, and color balance, for purposes consistent with reproduction.
[7] INDEMNIFICATION: Client will indemnify and defend Photographer against all claims, liability, damages, costs, and expenses, including reasonable legal fees and expenses, arising out of the creation or any use of any Images or arising out of use of or relating to any materials furnished by Client. Unless delivered to Client by Photographer, no model or property release exists, and it is Client's responsibility to obtain the necessary permissions for usages that require any model or property releases not delivered by Photographer. It is Client's sole responsibility to determine whether any model or property releases delivered by Photographer are suitable for Client's purposes. Photographer's liability for all claims shall not exceed in any event the total amount paid under this invoice.
[8] ASSUMPTION OF RISK: Client assumes full risk of loss or damage to or arising from materials furnished by Client and warrants that said materials are adequately insured against such loss, damage, or liability.
[9] TRANSFER AND ASSIGNMENT: Client may not assign or transfer this agreement or any rights granted under it. This agreement binds Client and inures to the benefit of Photographer, as well as their respective principals, employees, agents, and affiliates, heirs, legal representatives, successors, and assigns. Client and its principals, employees, agents, and affiliates are jointly and severally liable for the performance of all payments and other obligations hereunder. No amendment or waiver of any terms is binding unless set forth in writing and signed by the parties. However, the invoice may reflect, and Client is bound by, Client's oral authorizations for additional Images, fees and expenses that could not be confirmed in writing because of insufficient time or other practical considerations. This agreement incorporates by reference the Copyright Act of 1976, as amended. It also incorporates by reference those provisions of Article 2 of the Uniform Commercial Code that do not conflict with any specific provisions of this agreement; to the extent that any provision of this agreement may be in direct, indirect, or partial conflict with any provision of the Uniform Commercial Code, the terms of this agreement shall prevail. To the maximum extent permitted by law, the parties intend that this agreement shall not be governed by or subject to the UCITA of any state. Photographer is an independent contractor and not an employee. If photographer is deemed under any law to be an employee of Client, and if the Images are therefore considered works made for hire under the U.S. Copyright Act, Client hereby transfers the copyright to all such Images to Photographer. Client agrees to execute any documents reasonably requested by Photographer to accomplish, expedite or implement such transfer.
[10] DISPUTES: Except as provided in [11] below, any dispute regarding this agreement shall, at Photographer's sole discretion, either:
(1) be arbitrated in Alexandria, VA, under rules of the American Arbitration Association and the laws of the Commonwealth of Virginia; provided, however, that irrespective of any specific provision in the rules of the American Arbitration Association, the parties are not required to use the services of arbitrators participating in the American Arbitration Association or to pay the arbitrators in accordance with the fee schedules specified in those rules. Judgment on the arbitration award may be entered in any court having jurisdiction. Any dispute involving $5,000 or less may be submitted without arbitration to any court having jurisdiction thereof OR (2) be adjudicated in Alexandria, VA under the laws of the United States and/or of the Commonwealth of Virginia.
In the event of a dispute, Client shall pay all court costs, Photographer's reasonable legal fees, and expenses, and legal interest on any award or judgment in favor of Photographer.
[11] FEDERAL JURISDICTION: Client hereby expressly consents to the jurisdiction of the Federal courts with respect to claims by Photographer under the Copyright Act of 1976, as amended, including subsidiary and related claims.
[12] OVERTIME: In the event a shoot extends beyond eight (8) consecutive hours, Photographer may charge for such excess time of assistants and freelance staff at the rate of 1 1/2 times their hourly rates.
[13] RESHOOTS: Client will be charged 100 percent fee and expenses for any reshoot required by Client. For any reshoot required because of any reason outside the control of Client, specifically including but not limited to acts of God, nature, war, terrorism, civil disturbance or the fault of a third party, Photographer will charge no additional fee, and Client will pay all expenses.
If Photographer charges for special contingency insurance and is paid in full for the shoot, Client will not be charged for any expenses covered by insurance. A list of exclusions from such insurance will be provided on request.
[14] ASSIGNMENT CANCELLATIONS AND POSTPONEMENTS:
Cancellations: Client is responsible for payment of all expenses incurred up to the time of cancellation of the assignment, plus 50 percent of Photographer's fee; however, if notice of cancellation is given less than two (2) business days before the shoot date, Client will be charged 100 percent of invoice.
Postponements: Unless otherwise agreed in writing, Client will be charged a 100 percent fee if postponement of the assignment occurs after photographer has departed for location, and 50 percent fee if postponement occurs before departure to location. Fees for cancellations and postponements will apply irrespective of the reasons for them, specifically including but not limited to weather conditions, acts of God, nature, war, terrorism, civil disturbance, and the fault of a third party.
[15] PAYMENT AND COLLECTION TERMS: Invoices from Photographer are payable upon receipt. The unpaid amount of any invoice, within 10 days of the mailing date of the invoice, will incur a rebilling fee of not less than Twenty Five percent of the remaining balance due. In any action to enforce the terms of this Agreement, the prevailing party shall be entitled to recover their actual attorney’s fees, court costs and all other non-reimbursable litigation expenses such as expert witness fees and investigation expenses. No lawsuits pertaining to any matter arising under or growing out of this Agreement shall be instituted in any place other than Alexandria, Virginia.
The houseboatzania launching an innovative high-end luxury yacht houseboat home design exposing the 3. generation of luxury houseboats .
The collection of the Houseboatzania concept of innovative houseboats consists of high luxury and architectural art pieces in minimalism combined with living on the waterfront of the harbour of Miami Florida Dubai Japan Sidney Barcelona Monaco or elsewhere.
The houseboat yacht design has the basis to sustain living with high standards and contemporary structural design with numerous of prospects for excessive living and celebrating the desire of life worldwide:
Copenhagen Amsterdam Japan China Netherlands Denmark Sweden Florida Los Angles New York London Tokyo Shanghai Rotherham Netherlands Paris Berlin Norway Spain Barcelona Switzerland Netherlands Brazil Canada Seattle Australia Sidney United States Germany Netherlands England London Melbourne New Zealand San Francisco New Orleans Boston Singapore Utrecht Copenhagen Stockholm Glasgow Oslo Istanbul Helsinki Hamburg Brazil Rio De Janeiro Mumbai Seoul Dubai Abu Dhabi Manhattan
The houseboat yacht dream is an addition to the traditional way of buying properties in Monaco and other places around the world as the property market is sky-high. The houseboating design of Houseboatzania shows how to sustain high modern yacht lifestyle living on the prominent harbour with multifunctionalties and flexibility to sustain gatherings and as a stunning showcase of modern yachting when it’s best similarly complementing other places around the world such as
Copenhagen Amsterdam Japan China Netherlands Denmark Sweden Florida Los Angles New York London Tokyo Shanghai Rotherham Netherlands Paris Berlin Norway Spain Barcelona Switzerland Netherlands Brazil Canada Seattle Australia Sidney United States Germany Netherlands England London Melbourne New Zealand San Francisco New Orleans Boston Singapore Utrecht Copenhagen Stockholm Glasgow Oslo Istanbul Helsinki Hamburg Brazil Rio De Janeiro Mumbai Seoul Dubai Abu Dhabi Manhattan
The innovative houseboat design has multiple level plans with basement underneath it, which consist all the facilities needed for the renter or buyer. The Houseboat Yacht Barge has a unique modern contemporary design with unique architectural features. It has its own lounge area with gorgeous view of the bay.
The concept has a widespread diversity of different luxury houseboat concepts with the option of individually design centered on the client’s wishes and requests. Houseboatzania is great for the soul who wants to appreciate the waterfront of Monaco or elsewhere complementing high luxury with perfection.
OUR CLIENT'S ROLLS ROYCE GHOST WITH 22" FORGIATO TELLO WHEELS. CLIENT IS LOCATED IN FLORIDA. www.WheelsPerformance.com
OUR CLIENT'S CHEVROLET CORVETTE C6 Z06 WITH 19/20" 360 FORGED MESH 8 WHEELS. CLIENT IS LOCATED IN CANADA. www.WheelsPerformance.com
OUR CLIENT'S BMW X6 WITH 20" VOSSEN CV3 WHEELS. CLIENT IS LOCATED IN PENNSYLVANIA. www.WheelsPerformance.com
While doing some product photography for a metalworking client's brochure, I pottered around their factory and heavy machinery. I found this heavy cast lettering on the front of what Google tells me is an Edwards Besco Hydrofold powered box and pan plate folding machine from between mid-60s to early 70s (either way, older than me!), which folds sheet metal. I like the script-slab combination lending a bit of detail to large chunk of machinery :)
I then found a few mid-WWII newspaper ada for F.J. Edwards Ltd and their Besco machinery, which was quite interesting: www.flightglobal.com/pdfarchive/view/1940/1940%20-%200330... & www.gracesguide.co.uk/wiki/F._J._Edwards and they were listed as suppliers to the British aircraft industry during World War II itself.
This is actually THREE different Soundwaves (as per the client's request for display purposes) smallest is the WST SW, the middle sized is a re-issue, the robot is the MP version.
Soundwave's always been one of my favorite G1 characters. To do him right, I started with an oversized G1 Soundwave (courtesy of kotoys.com)
Here is the list of modifications made to Soundwave:
...- His plastic's been completely filled with epoxy to give him extra stability and weight.
- The articulated hands (all fingers move independently) are courtesy of Zildjian.
- The head was custom built using a variety of parts. (cast & available on ebay soon)
- The visor is clear red plastic and the head contains a red LED light, which runs to it's power supply and on/off switch in Soundwave's back.
- Soundwave's chest was also completely rebuilt and re-invented.
- Although "oversized" the chest holsters "regular" sized G1 cassettes.
- All details/mods were done w/ styrene.
- His waist also extends (telescope style) giving him another inch of height.
- His knees now bend back.
- His feet pivot to lay flat
- Decals were custom built and applied, most graphics are hand painted
- Embossed Decepticon symbol on chest is hand cut from styrene
Great to see our logs looking so beautiful, stacked in alcoves either side of a fireplace.
Contemporary, modern rustic with a hint of the coast. Client's image.
Disclaimer: This was submitted with the client's permission. And the MLP characters as seen in this submission belong to Hasbro Studios, the studio behind the show, My Little Pony: Friendship is Magic.
©2017 JonnySel Productions. All Rights Reserved.
AFI Los Angeles screening and reception of
PEACE AFTER MARRIAGE
"Creative Promise Award" @ Tribeca Film Festival 2011
April 3, 2011
Nicolai Froehlich
Unterweg 81 Postfach 626
Bülach 8180
Switzerland
646-408-8137
nicolai@happynick.com
Faruk Özerten
Hostage International
“Peace After Marriage”
41 Schermerhorn Street, Suite 197
Brooklyn NY 11201
323-963-3243
Photographer Nicolai Froehlich owns the copyright to the still photography created on March 31st 2011 at the screening of “Peace After Marriage” at the American Film Institute in Los Angeles, and grants the Client “Peace After Marriage” film production / Hostage International an exclusive usage license for marketing, production, and promotional purposes across all media types, worldwide, for an unlimited time.
Terms & Conditions
[1] Definition: "Image(s)" means all visual representations furnished to Client by Photographer, whether captured, delivered, or stored in photographic, magnetic, optical, electronic, or any other media. Unless otherwise specified on the front of this document, Photographer may deliver, and Client agrees to accept, Images encoded in an industry-standard data format that Photographer may select, at a resolution that Photographer determines will be suitable to the subject matter of each Image and the reproduction technology and uses for which the Image is licensed. It is Client's responsibility to verify that the digital data (including color profile, if provided) are suitable for image
reproduction of the expected quality and color accuracy, and that all necessary steps are taken to ensure correct reproduction. If the data are not deemed suitable, Photographer's sole obligation will be to replace or repair the data, but in no event will Photographer be liable for poor reproduction quality, delays, or consequential damages. Unless otherwise specifically provided elsewhere in this document, Photographer has no obligation to retain or archive any of the Images after they have been delivered to Client. Client is responsible for sending an authorized representative to the assignment or for having an authorized representative review the images remotely during the assignment. If no review is made during the assignment, Client is obligated to accept Photographer's judgment as to the acceptability of the Images.
[2] Rights: All Images and rights relating to them, including copyright and ownership rights in the media in which the Images are stored, remain the sole and exclusive property of Photographer. Unless otherwise specifically provided elsewhere in this document, any grant of rights is limited to a term of one (1) year from the date hereof and to usage in print (conventional non-electronic and non-digital) media in North America.
Unless otherwise specifically provided elsewhere in this document, no image licensed for use on a cover of a publication may be used for promotional or advertising purposes without the express permission of Photographer and the payment of additional fees.
No rights are transferred to Client unless and until Photographer has received payment in full. The parties agree that any usage of any Image without the prior permission of Photographer will be invoiced at three times Photographer's customary fee for such usage. Client agrees to provide Photographer with three copies of each published use of each Image not later than 60 days after the date of first publication of each use. If any Image is being published only in an electronic medium, Client agrees to Provide Photographer with an electronic tearsheet, such as a PDF facsimile or URL of the published use of each such photograph, within fifteen (15) days after the date of first publication of each use. Unless otherwise specifically provided elsewhere in this document, all usage rights are limited to print media, and no digital usages of any kind are permitted. This prohibition includes any rights or privileges that may be claimed under §201(c) of the Copyright Act of 1976 or any similar provision of any applicable law.
Digital files may contain copyright and other information embedded in the header of the image file or elsewhere; removing and/or altering such information is strictly prohibited and constitutes violation of the Copyright Act.
All fees and expenses payable under this agreement are required irrespective of whether Client makes actual use of the Images or the licenses to use them. Unless specifically provided elsewhere in this document, no reprographic, reprint, republication or other secondary reproduction usages may be made, and usage rights are granted only for one-time, English language North American editorial print editions of the publication listed on the front of this document and six month searchable archive use on the website of that publication.
[3] Return and Removal of Images: Client assumes insurer's liability (a) to indemnify Photographer for loss, damage, or misuse of any Images, and (b) to return all Images prepaid and fully insured, safe and undamaged. Unless the right to archive Images has been specifically granted by Photographer on the front of this document, Client agrees to remove and return or destroy all digital copies of all Images. All Images shall be returned, and all digital files created by or on behalf of Client containing any Images shall be delivered to Photographer, deleted or destroyed, within thirty (30) days after the later of: (1) the final licensed use as provided in this document, and (2) if not used, within thirty (30) days after the date of the expiration of the license. Failure to return Images on time will result in loss to Photographer due to his resulting inability to license such Images. Client therefore agrees to pay a holding fee of five dollars and fifty cents ($5.50) per day for each image from the return date until the day on which the Images are actually received by Photographer. Client assumes full liability for its principals, employees, agents, affiliates, successors, and assigns (including without limitation independent contractors, messengers, and freelance researchers) for any loss, damage, delay in returning or deleting, failure to return, or misuse of the Images.
[4] Loss or Damage:
Reimbursement for loss or damage of each digital file shall be in the amount of Two Hundred Dollars ($200). Photographer and Client agree that said amount represents the fair and reasonable cost of the time and materials required to replace each item. Client understands that its acceptance of the stipulated value of the Images is a material consideration in Photographer's acceptance of the terms and prices in this agreement.
[5] Photo Credit: All published usages of Images will be accompanied by written credit to Photographer or copyright notice as specified on the reverse side. If no placement of a credit or copyright notice is specified on the reverse side, no credit or notice is required. If a credit is required but not actually provided, Client agrees that the amount of the invoiced fee will be subject to a three-times multiple as reasonable compensation to Photographer for the lost value of the credit line.
[6] Alterations:
Client may make or permit any alterations, including but not limited to additions, subtractions, or adaptations in respect of the Images alone or with any other material, including making digital scans, subject to the provisions as stated in [7] below.
[7] Indemnification: Client will indemnify and defend Photographer against all claims, liability, damages, costs, and expenses, including reasonable legal fees and expenses, arising out of the creation or any use of any Images or arising out of use of or relating to any materials furnished by Client. Unless delivered to Client by Photographer, no model or property release exists, and it is Client's responsibility to obtain the necessary permissions for usages that require any model or property releases not delivered by Photographer. It is Client's sole responsibility to determine whether any model or property releases delivered by Photographer are suitable for Client's purposes. Photographer's liability for all claims shall not exceed in any event the total amount paid under this invoice.
[8] Assumption of Risk: Client assumes full risk of loss or damage to or arising from materials furnished by Client and warrants that said materials are adequately insured against such loss, damage, or liability.
[9] Transfer and Assignment: Client may not assign or transfer this agreement or any rights granted under it. This agreement binds Client and inures to the benefit of Photographer, as well as their respective principals, employees, agents, and affiliates, heirs, legal representatives, successors, and assigns. Client and its principals, employees, agents, and affiliates are jointly and severally liable for the performance of all payments and other obligations hereunder. No amendment or waiver of any terms is binding unless set forth in writing and signed by the parties. However, the invoice may reflect, and Client is bound by, Client's oral authorizations for additional Images, fees and expenses that could not be confirmed in writing because of insufficient time or other practical considerations. This agreement incorporates by reference the Copyright Act of 1976, as amended. It also incorporates by reference those provisions of Article 2 of the Uniform Commercial Code that do not conflict with any specific provisions of this agreement; to the extent that any provision of this agreement may be in direct, indirect, or partial conflict with any provision of the Uniform Commercial Code, the terms of this agreement shall prevail. To the maximum extent permitted by law, the parties intend that this agreement shall not be governed by or subject to the UCITA of any state. Photographer is an independent contractor and not an employee. If photographer is deemed under any law to be an employee of Client, and if the Images are therefore considered works made for hire under the U.S. Copyright Act, Client hereby transfers the copyright to all such Images to Photographer. Client agrees to execute any documents reasonably requested by Photographer to accomplish, expedite or implement such transfer.
[10] Disputes: Except as provided in [11] below, any dispute regarding this agreement shall, at Photographer's sole discretion, either:
(1) be arbitrated in Bülach (Zurich), 8180, Switzerland, under rules of the American Arbitration Association and the laws of Switzerland, provided, however, that irrespective of any specific provision in the rules of the American Arbitration Association, the parties are not required to use the services of arbitrators participating in the American Arbitration Association or to pay the arbitrators in accordance with the fee schedules specified in those rules. Judgment on the arbitration award may be entered in any court having jurisdiction. Any dispute involving $5,000 or less may be submitted without arbitration to any court having jurisdiction thereof.
OR
(2) be adjudicated in Bülach (Zurich), 8180, Switzerland under the laws of the United States and/or of Switzerland.
(3) In the event of a dispute, Client shall pay all court costs, Photographer's reasonable legal fees, and expenses, and legal interest on any award or judgment in favor of Photographer.
[11] Federal Jurisdiction: Client hereby expressly consents to the jurisdiction of the Federal courts with respect to claims by Photographer under the Copyright Act of 1976, as amended, including subsidiary and related claims.
[12] Overtime: In the event a shoot extends beyond eight (8) consecutive hours, Photographer may charge for such excess time of assistants and freelance staff at the rate of 11/2 times their hourly rates.
[13] Reshoots: Client will be charged 100 percent fee and expenses for any reshoot required by Client. For any reshoot required because of any reason outside the control of Client, specifically including but not limited to acts of God, nature, war, terrorism, civil disturbance or the fault of a third party, Photographer will charge no additional fee, and Client will pay all expenses.
If Photographer charges for special contingency insurance and is paid in full for the shoot, Client will not be charged for any expenses covered by insurance. A list of exclusions from such insurance will be provided on request.
[14] Assignment Cancellations and Postponements: Cancellations: Client is responsible for payment of all expenses incurred up to the time of cancellation of the assignment, plus 50 percent of Photographer's fee; however, if notice of cancellation is given less than two (2) business days before the shoot date, Client will be charged 100 percent fee. Postponements: Unless otherwise agreed in writing, Client will be charged a 100 percent fee if postponement of the assignment occurs after photographer has departed for location, and 50 percent fee if postponement occurs before departure to location. Fees for cancellations and postponements will apply irrespective of the reasons for them, specifically including but not limited to weather conditions, acts of God, nature, war, terrorism, civil disturbance, and the fault of a third party.
client's pillows on floor and traditional rocking chair, freshly renovated floor, walls, trim, and paint.
Ottograph, a large-scale muralist, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
——
Dutch pop-art painter Ottograph.
Ottograph who graduated from the Rietveld Academy in Amsterdam, started to paint at the young age of ten, he liked the idea of painting on the walls of the streets of Amsterdam and has never stopped doing so. Now Ottograph’s art can be seen in galleries, on wall’s, in bars and shops around the world and not to mention the wall’s of the Modern Art Museum of Antwerpen, MoMu in Belgium.
Ottograph’s work is full of color and life. What Ottograph paints is something that reflects to society in general and is something that people can relate to.
On his own or to gether with his fellow artist/friends Ottograph has also set up several successful projects such as CIA (Central Illustration Agencey), which speaks for it self as well as KMDG a group of artist with a backround in illustration, graffiti and street-art who bring together artist from around the world to paint walls and commissions together.
Over the years Ottograph has accumulated several important client’s such as Nike, Mars, MercedesBenz, and Apple i-pod and i-phone just to name a few…
————————
In Las Palmas noemen ze alle VJ's VJ. Behalve Ottograph, dat is de Kunstenaar. Zijn voornaamste bezigheid is namelijk schilderen, en dat zie je terug in zijn animaties, waarin beeld - en niet techniek - de hoofdrol speelt. Ooit was Otto Kruijsen, oftewel Ottograph, nachtenlang in de weer met spuitbussen, om een vette piece neer te zetten op trein of muur. Daar kreeg ie genoeg van, en na diverse omzwervingen meldde Otto zich in 1993 aan op de Rietveld Academie, om schilder te worden. Al snel besefte hij dat hij allang wist wat hij wilde en kon, en helemaal geen zin had om voor de zoveelste keer van voren af aan te beginnen. Tabe Rietveld dus. Een goeie zet, want sindsdien is het Otto voor de wind gegaan.
Zijn eerste expositie, samen met een paar vrienden, was een groot succes: ze verkochten hun doeken in een galerie verbouwd tot supermarkt, met o.a. een echte kassa bij de deur. Naar aanleiding van deze expositie werd Ottograph gevraagd om prints voor t-shirts en kleding van Bodyglove te ontwerpen. Een toffe maar heftige job, omdat hij alles met de hand deed. Hierna schafte Otto de computer aan. Vele ontwerpopdrachten volgden, en Otto leefde zich jarenlang uit in illustraties en logo's. En hij legde zich toe op het VJ-en. Het schilderen verdween in die tijd naar de achtergrond, de reden waarom hij het ontwerpwerk en illustreren op den duur weer heeft afgestoten.
Waar ben je tegenwoordig mee bezig?
Ottograph: "Ik focus me op het schilderen van grote doeken, die ik exposeer. In galerie Vips in Rotterdam hangen bijvoorbeeld doorlopend doeken van mij, maar ook in galeries in Amsterdam en Den Bosch. Vorig jaar had ik nog een expositie in Rome en deze zomer zelfs in St. Petersburg, waar ik erg blij mee ben. Op dit moment heb ik een expositie in de Bijenkorf Amsterdam. Er hangen schilderijen in de galerie, en in de Chill Out kun je jassen en petjes kopen, waar een zeefdruk van mij op staat. Afgelopen zomer heb ik meegedaan aan een kunstproject waarbij zes kunstenaars ieder een tent beschilderden, die op diverse festivals te zien waren, waaronder Lowlands. Vrij recent heb ik ook nog een auto beschilderd, voor een open dag van een school: de kinderen mochten met Ottograph een auto beschilderen. Dus ik ben met een hoop dingen bezig kun je wel zeggen."
———————
Ottograph, a large-scale muralist, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
————————
De Amsterdammer Ottograph was een van de eerste graffiti artiesten van Amsterdam samen met kunstenaars en vormgevers zoals Shoe en Delta. Begin jaren ’90 was Ottograph een van de eerste VJ’s die met 3d animatie werkte, een gegeven wat hem al snel internationale roem opleverde.
Als vormgever vonden zijn logo’s gretig aftrek onder bedrijven als Microsoft, Nike, Fanta, Panasonic, Ford, Mercedes-Benz, Nieuwe Revu en muzikant Junki XL. Ottograph was niet alleen deel van de populaire beeldcultuur hij was ook in zekere mate bepalend voor de koers en de ontwikkeling er van. Tegenwoordig houdt Ottograph zich nog alleen bezig met schilderkunst, waar hij dagelijks verslag van doet op Youtube. Dit maakt hem tot een tegendraadse en eigentijdse Bob Ross. Ottograph heeft actieve deelname aan de populaire beeldcultuur bewust achter zich gelaten maar laat zich er nog wel duidelijk door inspireren in zijn schilderkunst en gebruikt een van de populairste media van vandaag de dag om hier verslag van te doen.
Amsterdam is sinds kort een toeristische attractie rijker genaamd "Ottograph Street". Kunstenaar Otto Kruijsen besloot iets te doen aan de voorheen "enge" Wijdesteeg in het centrum. Zeven maanden later blijkt het een hit op instagram. Toeristen komen er geregeld op af.
———————
Otto Kruijsen (Ottograph3000)
>> voorbije exposities / past exhibitions
Over de kunstenaar
Woont en werkt in Amsterdam.
'Een pseudoniem biedt geen specifieke voordelen', zegt de kunstenaar die sinds 1993 opereert onder de naam Ottograph Speciale Service, maar 'ik probeer een beetje mysterieus te houden wie of wat er achter Ottograph zit, alsof het een soort kunstbedrijf (factory) is.' Ottograph is actief op het grensgebied van design, illustratie en beeldende kunst. De grens daartussen is aangenaam vaag: een illustratie, gemaakt voor een opdrachtgever, kan geïsoleerd en uitvergroot een tweede leven als kunstwerk gaan leiden. De beelden die hij maakt, zijn strak en clean, tot het uiterste gestileerd en vaak in felle kleuren uitgevoerd. Ze hebben de aantrekkingskracht van logo's, die er zo vanzelfsprekend uitzien alsof ze altijd hebben bestaan. Als illustrator en ontwerper werkte en werkt Ottograph voor onder meer Microsoft, Nike, Panasonic, Ford, Mercedes-Benz en Nieuwe Revu. Zijn bekendste bandlogo maakte hij voor de groep Junkie XL. Over zijn favoriete logo's zegt hij: 'Het is misschien een cliché, maar ik ga voor The Beatles en de Stones. Die 'T' van The Beatles is heel radicaal.
Over het logo van de Stones kan ik kort zijn: een monument. Net als Coca Cola en de 'M'-arcade van McDonald's.' Zijn opleiding kreeg hij op straat, 'tussen de metrostellen.' Op zijn tiende begon hij met graffiti op muren en treinen. Daarna begon hij op doek te werken. Hij zat een jaar lang op de Rietveldacademie in Amsterdam, maar dat was geen succes: 'Veel te soft.' Die kortstondige opleiding en enkele computercursussen niet meegerekend, beschouwt hij zich vooral als autodidact. Gevraagd naar zijn belangrijkste invloeden somt hij op: 'Andy Warhol, Jeff Koons, Robert Rauschenberg, Frank Stella, Jasper Johns, Keith Haring, Kenny Sharf. Andere inspiratiebronnen zijn graffiti, films, Afrikaanse, Mexicaanse en Japanse kunst, muziek, grafische vormgeving.' Op tentoonstellingen exposeert Ottograph zowel computerprints als schilderijen. Het een sluit het ander niet uit, vindt hij: 'Ik beoefen ze naast elkaar en ben juist geïnteresseerd in de wisselwerking ervan. Ik ben beter gaan schilderen sinds ik met de computer werk. Daar staat tegenover dat je op de computer sneller je composities kunt aanpassen.'
Ottograph, a large-scale muralist, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
——
Dutch pop-art painter Ottograph.
Ottograph who graduated from the Rietveld Academy in Amsterdam, started to paint at the young age of ten, he liked the idea of painting on the walls of the streets of Amsterdam and has never stopped doing so. Now Ottograph’s art can be seen in galleries, on wall’s, in bars and shops around the world and not to mention the wall’s of the Modern Art Museum of Antwerpen, MoMu in Belgium.
Ottograph’s work is full of color and life. What Ottograph paints is something that reflects to society in general and is something that people can relate to.
On his own or to gether with his fellow artist/friends Ottograph has also set up several successful projects such as CIA (Central Illustration Agencey), which speaks for it self as well as KMDG a group of artist with a backround in illustration, graffiti and street-art who bring together artist from around the world to paint walls and commissions together.
Over the years Ottograph has accumulated several important client’s such as Nike, Mars, MercedesBenz, and Apple i-pod and i-phone just to name a few…
————————
In Las Palmas noemen ze alle VJ's VJ. Behalve Ottograph, dat is de Kunstenaar. Zijn voornaamste bezigheid is namelijk schilderen, en dat zie je terug in zijn animaties, waarin beeld - en niet techniek - de hoofdrol speelt. Ooit was Otto Kruijsen, oftewel Ottograph, nachtenlang in de weer met spuitbussen, om een vette piece neer te zetten op trein of muur. Daar kreeg ie genoeg van, en na diverse omzwervingen meldde Otto zich in 1993 aan op de Rietveld Academie, om schilder te worden. Al snel besefte hij dat hij allang wist wat hij wilde en kon, en helemaal geen zin had om voor de zoveelste keer van voren af aan te beginnen. Tabe Rietveld dus. Een goeie zet, want sindsdien is het Otto voor de wind gegaan.
Zijn eerste expositie, samen met een paar vrienden, was een groot succes: ze verkochten hun doeken in een galerie verbouwd tot supermarkt, met o.a. een echte kassa bij de deur. Naar aanleiding van deze expositie werd Ottograph gevraagd om prints voor t-shirts en kleding van Bodyglove te ontwerpen. Een toffe maar heftige job, omdat hij alles met de hand deed. Hierna schafte Otto de computer aan. Vele ontwerpopdrachten volgden, en Otto leefde zich jarenlang uit in illustraties en logo's. En hij legde zich toe op het VJ-en. Het schilderen verdween in die tijd naar de achtergrond, de reden waarom hij het ontwerpwerk en illustreren op den duur weer heeft afgestoten.
Waar ben je tegenwoordig mee bezig?
Ottograph: "Ik focus me op het schilderen van grote doeken, die ik exposeer. In galerie Vips in Rotterdam hangen bijvoorbeeld doorlopend doeken van mij, maar ook in galeries in Amsterdam en Den Bosch. Vorig jaar had ik nog een expositie in Rome en deze zomer zelfs in St. Petersburg, waar ik erg blij mee ben. Op dit moment heb ik een expositie in de Bijenkorf Amsterdam. Er hangen schilderijen in de galerie, en in de Chill Out kun je jassen en petjes kopen, waar een zeefdruk van mij op staat. Afgelopen zomer heb ik meegedaan aan een kunstproject waarbij zes kunstenaars ieder een tent beschilderden, die op diverse festivals te zien waren, waaronder Lowlands. Vrij recent heb ik ook nog een auto beschilderd, voor een open dag van een school: de kinderen mochten met Ottograph een auto beschilderen. Dus ik ben met een hoop dingen bezig kun je wel zeggen."
———————
Ottograph, a large-scale muralist, has been slinging paint since the age of ten. The Modern Art Museum of Antwerpen (Belgium) is home to a giant Ottograph mural. Otto also painted murals in Moscow, Tokyo, Berlin New York and San Fancisco. Ottograph is also operating the website “I Paint Everyday” www.ipainteveryday.com to encourage the tedious, yet necessary practice of serious painting.
Ottograph has worked for clients like Greenpeace, Tommy Hilfiger, Nike, Mars, Ford, and Merecedes-Benz.
#ottograph
Dutch artist Ottograph created Amsterdam’s first real 24/7 outdoor street art gallery at the Wijdesteeg. This is a pic of the colored paving stones of this smashing aleyway.
#wijdesteeg
Media: illustrator, spraypaint, acrylics, stencil, markers, print and wood.
————————
De Amsterdammer Ottograph was een van de eerste graffiti artiesten van Amsterdam samen met kunstenaars en vormgevers zoals Shoe en Delta. Begin jaren ’90 was Ottograph een van de eerste VJ’s die met 3d animatie werkte, een gegeven wat hem al snel internationale roem opleverde.
Als vormgever vonden zijn logo’s gretig aftrek onder bedrijven als Microsoft, Nike, Fanta, Panasonic, Ford, Mercedes-Benz, Nieuwe Revu en muzikant Junki XL. Ottograph was niet alleen deel van de populaire beeldcultuur hij was ook in zekere mate bepalend voor de koers en de ontwikkeling er van. Tegenwoordig houdt Ottograph zich nog alleen bezig met schilderkunst, waar hij dagelijks verslag van doet op Youtube. Dit maakt hem tot een tegendraadse en eigentijdse Bob Ross. Ottograph heeft actieve deelname aan de populaire beeldcultuur bewust achter zich gelaten maar laat zich er nog wel duidelijk door inspireren in zijn schilderkunst en gebruikt een van de populairste media van vandaag de dag om hier verslag van te doen.
Amsterdam is sinds kort een toeristische attractie rijker genaamd "Ottograph Street". Kunstenaar Otto Kruijsen besloot iets te doen aan de voorheen "enge" Wijdesteeg in het centrum. Zeven maanden later blijkt het een hit op instagram. Toeristen komen er geregeld op af.
———————
Otto Kruijsen (Ottograph3000)
>> voorbije exposities / past exhibitions
Over de kunstenaar
Woont en werkt in Amsterdam.
'Een pseudoniem biedt geen specifieke voordelen', zegt de kunstenaar die sinds 1993 opereert onder de naam Ottograph Speciale Service, maar 'ik probeer een beetje mysterieus te houden wie of wat er achter Ottograph zit, alsof het een soort kunstbedrijf (factory) is.' Ottograph is actief op het grensgebied van design, illustratie en beeldende kunst. De grens daartussen is aangenaam vaag: een illustratie, gemaakt voor een opdrachtgever, kan geïsoleerd en uitvergroot een tweede leven als kunstwerk gaan leiden. De beelden die hij maakt, zijn strak en clean, tot het uiterste gestileerd en vaak in felle kleuren uitgevoerd. Ze hebben de aantrekkingskracht van logo's, die er zo vanzelfsprekend uitzien alsof ze altijd hebben bestaan. Als illustrator en ontwerper werkte en werkt Ottograph voor onder meer Microsoft, Nike, Panasonic, Ford, Mercedes-Benz en Nieuwe Revu. Zijn bekendste bandlogo maakte hij voor de groep Junkie XL. Over zijn favoriete logo's zegt hij: 'Het is misschien een cliché, maar ik ga voor The Beatles en de Stones. Die 'T' van The Beatles is heel radicaal.
Over het logo van de Stones kan ik kort zijn: een monument. Net als Coca Cola en de 'M'-arcade van McDonald's.' Zijn opleiding kreeg hij op straat, 'tussen de metrostellen.' Op zijn tiende begon hij met graffiti op muren en treinen. Daarna begon hij op doek te werken. Hij zat een jaar lang op de Rietveldacademie in Amsterdam, maar dat was geen succes: 'Veel te soft.' Die kortstondige opleiding en enkele computercursussen niet meegerekend, beschouwt hij zich vooral als autodidact. Gevraagd naar zijn belangrijkste invloeden somt hij op: 'Andy Warhol, Jeff Koons, Robert Rauschenberg, Frank Stella, Jasper Johns, Keith Haring, Kenny Sharf. Andere inspiratiebronnen zijn graffiti, films, Afrikaanse, Mexicaanse en Japanse kunst, muziek, grafische vormgeving.' Op tentoonstellingen exposeert Ottograph zowel computerprints als schilderijen. Het een sluit het ander niet uit, vindt hij: 'Ik beoefen ze naast elkaar en ben juist geïnteresseerd in de wisselwerking ervan. Ik ben beter gaan schilderen sinds ik met de computer werk. Daar staat tegenover dat je op de computer sneller je composities kunt aanpassen.'
Client's profile: www.facebook.com/keili.arts
For work, commission or collaboration please reach out to: www.instagram.com/momento.r_/
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in South Woodford, Essex*. Here are the details of the project
The Family Landscape Garden in South Woodford, Essex RM14
BRIEF:
Lawn, planting and privacy were considerations for the client in this small sub-urban garden. The brief was to create a garden that would accommodate the needs of the client’s child whilst being interesting to adults and usable for dining and entertainment. The solution would need to deal with the different levels and provide interest throughout the year.
SOLUTION:
This design makes maximum use of limited space by dividing the garden into two distinct areas.
The existing fences along all boundaries were removed and replaced with new fencing, upon which willow screens were fixed.
The main focal point of the space takes the form of a seating/dining area to the left hand side of the garden. Constructed from robust new treated railway sleepers, this area comprises an L-shaped fixed bench backed by a tall L-shaped raised bed and complimented by a freestanding table and low bench (also constructed from railway sleepers). This area screened from the rest of the garden by a rusted iron mesh trellis to the back of the raised bed. Flooring in this section and down the sideway is in stylish golden Iroko hardwood decking. The sideway itself features a tall stainless steel ‘monolith’ water feature, which can be viewed from all sides.
Access to the garden is provided by a set of decking steps from the patio door leading to a small rectangle of slate paving directly in front of the patio doors. Further decked steps lead from the paving to the second half of the space, which features a kidney shaped lawn bordered on one side by a curved granite sett path. This path leads to a 1.5m diameter granite sett paved circle in the bottom left corner of the garden, large enough to accommodate a café-style table and chairs or display a variety of pots or garden ornaments.
A child-friendly railway sleeper ‘growing’ bed was constructed behind the exposed side of the L-shaped raised bed and left un-planted for future use by the client’s child. Planting throughout the space was chosen to provide year round interest, including a mimosa in the left hand corner. The addition of long flowering herbaceous perennials ensures maximum colour throughout much of the year, while evergreen shrubs help give the garden backbone across the seasons. Climbing clematis planted around the boundaries will over time help to soften and obscure the fencing.
Lighting in the garden is simple yet comprehensive. The risers of each decking step are lit with small ‘micro led’ lights to safely guide the user into and out of the space. Net lighting on the mesh screen draws ones eye to the seating area, while stainless steel bollard lights placed at either end of the L-shaped bed the bench frame this section of the space. The stainless steel water feature is illuminated from both sides by spotlights fixed to the decking. Low-voltage spotlights throughout the planting beds give the garden a subtle, gentle glow.
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
The writing of the Brethren of Purity", Iraqui author, 1287, detail of the notary. Now in the library of the Mosque of Suleiman, Istanbul. Shared from "Las Plumas de Simurgh" on Facebook.
A commission using client's gold and diamonds....there was quite a variety of shapes/sizes of baguettes to deal with...but it worked out pretty well. Original pattern carved in Ferris green. This job was due on Saturday afternoon in order that the client could present it formally to his fianceé on Easter Sunday. I had problems with it and it ran quite late.....I delivered it at 1:45 am, Sunday morning to the client's house! Whew...that was a close one!
OUR CLIENT'S PORSCHE 997 WITH 20" FORGIATO VIZZO WHEELS. CLIENT IS LOCATED IN AUSTRALIA. www.WheelsPerformance.com
Barber trims a client’s hair on a Kabul street. / Un barbier coupe les cheveux d’un client dans une rue de Kaboul.
Photo : Ziaudin Azazi
A corporate client's Toastmaster's club turned 1 and the request was for the cupcakes to represent a 1st birthday as well as having a "4th July feel".
Pictured are a few of the 2 doz cupcakes. And I included blue candles for the sprinkles cupcakes!
OUR CLIENT'S CHEVROLET CAMARO ZL1 WITH 20" FORGIATO F2.09 ECX WHEELS. WWW.WHEELSPERFORMANCE.COM
PHOTOS BY VIZIONS BY VAL PHOTOGRAPHY, LLC.
OUR CLIENT'S ROLLS ROYCE GHOST WITH 22" FORGIATO TELLO WHEELS. CLIENT IS LOCATED IN FLORIDA. www.WheelsPerformance.com
The answer to trying to park in San Francisco. Here I am in the courtyard of my client's townhouse. No parking here except for residents. She's a bicycle advocate, too, and a former owner of GMs EV1, their electric car. I'm on my way to a downtown office building where my parking tab is usually $27.50. The company pays for parking, so they shouldn't mind paying my $7 train ticket instead.