Theatre d’Angouleme Scene Nationale

Angouleme / France
Housed in a nineteenth-century building, Le Theatre d’Angouleme is an important and well-loved civic feature of the south-western French town of Angouleme. The interior was extensively refurbished in the late 1990s, but the exterior was preserved and restored in keeping with local sentiment. In 1991 the theatre was designated a Scene Nationale and, hence, brought into a network of institutions dedicated to supporting live performances of all kinds. The structure of the theatre may be traditional, but the performances - whether drama, dance or music - are generally innovative. The mission of Angouleme is to support contemporary activity and nurture the repertoire of the future.

The graphic designers Annette Lenz and Vincent Perrottet began working for the theatre on the arrival of its current director Joel Gunzburger in 2001. Lenz and Perrottet had both designed materials for Gunzburger when he worked at a theatre in Rungis, near Paris. At that time the design¬ers were working independently, and the idea of their collaboration was initiated by Gunzburger, who was keen on the work of both designers and unwilling to choose between them.
Lenz and Perrottet’s first decision was not to change the logotype of the theatre. Designed several years previously by the studio of Thereses Tro’i'ka, they recognized that it was well-crafted, easy to use and was already widely recognized both locally and among the broader theatre community. Incorporating Troika’s logo, they currently design new graphic material for each season, including information leaflets, posters and invitations. Given the theatre’s very varied programme, their main task is to create a strong core identity without obscuring the sense of diversity. Gunzburger and his head of communication, Marie-Christine Leger, both recognize that the poster is an independent cultural form and, as such, they allow Lenz and Perrottet a significant amount of creative freedom. So long as they work within the modest resources of the theatre, the designers are encouraged to create strong images that not only sell performances, but also provoke and engage. The identity of Le Theatre d’Angouleme is a work in progress, with Lenz and Perrottet generating a new set of graphic motifs each year.

Previous spread, left The glass doors at the theatre’s entrance proved to be the perfect medium for exploring the possibilities of the predominantly typographic design language, with the names of past productions set in varying sizes to communicate the theatre’s dynamic approach to programming. Opposite page Annette Lenz and Vincent Perrottet designed these posters, to promote the 2004-2005 season, with clarity and elan, despite the rather complex visual language employed by the designers to suggest the theatre’s reputation for staging innovative
productions. It also complements and reflects the visual language of the existing logotype (designed by the Thereses Tro’i'ka studio). This page Two posters from a series promoting the 2003-2004 season. Like the posters designed for the following season (opposite), these employ a fractured, three-dimensional language, with a folded band bearing dates and information moving from the top of the poster to the bottom. The band sits on top of a flat photographic image evoking the time of year, elements of which are integrated into the information band itself.

trackback:http://blog.buyvertureplica.com/index.php/2010/05/theatre-dangouleme-scene-nationale/vertu

Mobile Home Gallery

London /UK
Mobile Home was a small commercial art gallery based in London. According to the report from Buyvertureplica.com, iIt opened in 1999, on the third floor of a building on Theobalds Road, near the British Museum. Later it moved to larger quarters in Bethnal Green, where it also benefited from the company of similar galleries. By the time the gallery closed in September 2004 it had amassed an impressive roster of artists and run five full seasons of exhibitions.
Most London galleries - indeed most commercial galleries worldwide -opt for neutral, Modernist graphics. Their aim is to create a visual environ¬ment that challenges neither artists nor collectors. Being a newcomer to the gallery world, and having a background as an artist himself, Mobile Home Director Ronnie Simpson chose to confront this orthodoxy. His first step was to commission the designer Jonathan Barnbrook to create an identity that was anything but clean. Known for his love of typographic history, Barnbrook built a logotype of the interwoven initials M and H rendered in decorative Victorian letterforms. Coupled with the full name ‘Mobile Home’ written in gothic script, this design has a decidedly ecclesiastical appear¬ance, a look not usually associated with contemporary art galleries. While most corporate identities attempt to create a barrier between the businesses they represent and the urban environment they often inhabit, the Mobile Home logo made a direct reference to the nineteenth-century motifs that dominate London’s ageing architectural landscape.

mobile home gallery buyvertureplica.com

After designing the overall identity, Barnbrook continued to work with Simpson on the publicity for each Mobile Home show. In every case the designer responded to the works of art being exhibited by customizing his typographic vocabulary. Featuring several typefaces on each piece of printed collateral, Barnrook used fonts he had designed himself, such as Echelon and Expletive, and other less distinctive faces. Combining type and imagery in adventurous and unexpected ways, Barnbrook developed a series of flyers and invitations that stood out against a backdrop of undistin¬guished art promotion. Gathered together, they act as a monument to the sadly short-lived triumphs of Mobile Home.

Previous spread, left Interior view of Mobile Home Gallery at its second home in Bethnal Green, with a view of an installation by Julie Verhoeven. Opposite page, above The visual language of this invitation - to a preview of Julie Verhoeven’s Tat Bottomed Girls’ show in 2002 -recalls the elegant, yet visceral, line drawings produced by the artist. The designer has employed a variety of typefaces to create an animated - though cohesive - response to the artist’s work that complements the identity’s gothic script logotype and decorative, ostentatious symbol, Opposite page, below
Private view invitations designed for the gallery’s 2000 programme. Like the Verhoeven invitation, the work of each exhibiting artist has informed the variety of typefaces employed, as well as the placement of type on image. The postcards come from a series that are perhaps the boldest expression of the gallery’s identity, with the logotype, core typeface and colour palette pushed to the fore. This page For the invitation to Julie Verhoeven’s ‘Unforgiving’ (2003), the designers opted for a large, fold-out poster format. The type and image have been integrated, although the type retains an elegance and clarity that seems to betray the chaotic verve of the artist’s drawing style in a surprisingly complementary way.

trackback:http://blog.buyvertureplica.com/index.php/2010/05/mobile-home-gallery/vertu

Coach Finding Its New Self

coach-finding-its-new-self-buyvertureplica.com

Coach broke out of its box in 1997 in search of trendier horizons. Up until then, the American leather goods firm had its name in a serif font within a lozenge-shaped box for a logo—and liked it; why not? Stamped on its own leather tag and attached to each bag with a small chain, Ihe label had been an instant mark of quality for the affluent conservative set, deservedly earning a place in Coach’s annals. But now another symbol was required, a graphic to express Coach’s YOUNGER S E L F , For this new client, there were to be no margins, no heavily bolded font. Instead, following its explorer instinct, Coach stepped out into new territory to address its larger audience. News from http://www.buyvertureplica.com.

trackback:http://blog.buyvertureplica.com/index.php/2010/04/coach-finding-its-new-self/vertu

Touch Pad + Bluetooth music, the second generation of watch mobile phone upgrade

Bluetooth watches aren’t rare, SE has once worked with watch manufacturer Fossil to launch a watch with Bluetooth function, which was beautifully designed, but the pity is that it cannot support phone calls. The C1000 we are introducing today is not the same as it is a watch mobile phone which can hold SIM card, a real mobile phone, and an supports hand writing, touch-control, Bluetooth and MP3 / MP4 video functions, with up to 60 MB built-in memory, truly a big step leading major manufacturers.

the-second-generation-of-watch-mobile-phone-upgrade-buyvertureplica.com

To be more specific, C1000 is a mobile phone that looks like a watch, so that users can wear the phone around their wrists while having phone calls. Compared with general watches, the size of C1000 is slightly larger, but not too strange. As without the support of watch factory, the texture of C1000 is just ordinary, with plastic case matched with artificial leather strap, much like the ultra-cheap watches at night markets, there is room for improvement.

C1000 still has a white version, unfortunately we cannot borrowed one to take the test, white looks better than black. Interested readers please search “C1000 watch phone”, to find immediate pictures and make your own judge.

the-second-generation-of-watch-mobile-phone-upgrade-buyvertureplica.com

What makes C1000 special is that it is the world’s first super watch phone which has the functions of touch screen, Chinese handwriting, Bluetooth, MP3, cell phone communication and other functions, all tucked inside. As usual, with so many powerful features, mainland companies must make them noticeable that they print “Watch Mobile”, “Media Player”, “Bluetooth” and other signs both on front and back. To be honest, the Bluetooth logo is okay, but others are unnecessary.

trackback:http://blog.buyvertureplica.com/index.php/2010/04/touch-pad-bluetooth-music-the-second-generation-of-watch-mobile-phone-upgrade/louis vuitton

The Da Vinci Code of Blackberry, iPhone, Google and Microsoft

the-da-vinci-code-of-blackberry-iphone-google-and-microsoft-buyvertureplica.com

Today I saw the latest report conducted by U.S. market research company Crowd Science and mobile application software analysis company Flurry, it was a really interesting numbers game. Let’s see this trick question and see if the analysts have something to express, or they only work for appearance sake.

1 / 3 of iPhone users completely use mobile phones for private purposes, while that ratio is only 16% of Blackberry which has a large group of fashionista users like James King, David Beckham, Cameron Diaz and Avril Lavigne.

Only 1% of iPhone users use the phone complete for business (not surprising), 2 / 3 of people use iPhone both for personal and business needs.

Only 7% of BlackBerry users use the phone complete for business purposes, 3 / 4 of BlackBerry users use it for business and personal use, although BlackBerry has always been considered the best business phone, and even Barack Obama could not tear himself away from it.

32% of BlackBerry users want to own an Android mobile phone.

40% of BlackBerry users once had or want to use iPhone.

Last year, nearly 10,000 Microsoft employees visited the company’s internal mail system through iPhone, which number is equivalent to about 10% of Microsoft’s global workforce.
Cell phone inventor Martin Cooper said recently that he switched to Motorola Droid after he used iPhone for 3 months.

Apple sold 1 million the first generation of iPhone in just 74 days in 2007.

Motorola sold 1.05 million Motorola Droid phones (Android platform mobile phones, the Milestone is the WCDMA version of Droid) 74 days after its launch, surpassing iPhone in the same period.

Here’s a picture as proof for your reference.

the-da-vinci-code-of-blackberry-iphone-google-and-microsoft-buyvertureplica.com

trackback:http://blog.buyvertureplica.com/index.php/2010/04/the-da-vinci-code-of-blackberry-iphone-google-and-microsoft/Louis Vuitton

Issues and Opportunities of Google Nexus One and Its Impact on Blackberry and Apple

issues-and-opportunities-of-google-nexus-one-and-its-impact-on-blackberry-and-apple-buyvertureplica.com

Competition is certainly a good thing, which is sure, for example, the introduction of Apple iPhone has promoted the overall standard of the user interface, forcing RIM to launch BlackBerry Storm series promptly. I think that the introduction of Google Nexus One may mean something in common in this respect and is likely to force giants like RIM and Verizon to accelerate the introduction of new models and improvement of current models.

When I heard that software giant Google announced to start selling GSM standard Nexus One smart phone, my first thought was: “these poor guys should realize that they had just stepped on a landmine!”

In my view, it is a big step and pretty risky for a software company to do smart phone skipping the hardware market. For example, no one can take the place of Microsoft in the software industry, and they have tried several times to become a top hardware manufacturer, but in fact, the difference between manufacturing hardware and writing software and patch upgrades is huge. I have once worked at a digital equipment corporation, I know that no matter how well your products perform, only a good sale through your own channels by yourself counts!

For Google, their first huge obstacle is how to convince Motorola, HTC and other third-party manufacturers to believe that Google’s mobile phone business will not harm their benefits. Then in this case, how Google competes with these existing giants at a same level. This is actually not a small contradiction.

The second and important point is “sales costs”, the operation of such a large national and even international sales team can cost an astronomical figure.

As a team member of mobile software provider, I have been invited to numerous sales conferences of operators, and listened to numerous marketing plans, so I know all too well what the sales teams of these mobile operators want, only money. These people care nothing about culture or friendship, they only take action when they smell money. As long as it is profitable, they are willing to sell ghosts if you want them to, so how operators can make money is the only key to success, or else they will not hesitate to abandon your products. In addition, operators are concerned about whether your cell phone has unique selling points like other competitive products, your product has to be unique to sell well.

For Google, another challenge is the retail terminal, Google will have to force themselves to deal with retail stores; and retailer teams will not do things for no profit, and retailers like to play price game, whether Google is able to solve these problems remains doubtful. In the mobile phone market, it is not an easy task to keep restrictions on retail prices.

For issues mentioned above, Google better use some well-established teams to operate their market and promotion of their products. Underestimate the strength of the operator’s sales team is an important reason of Sierra Wireless’ failure in their smart phone project in 2004.

If Nexus One is to succeed, their marketing strategies must distinguish from their existing competitors’, such as Dell’s direct sales model, or to crush the opponent by highly competitive low price, but for now, they have not taken any of the above methods.

Finally, I have to say that Nexus One is a good machine, it looks pretty amazing. I hope my worries mentioned above are uncalled for, after all, with more and more high-level cell phone in the market, we can have more affordable and excellent smart phones to choose.

trackback:http://blog.buyvertureplica.com/index.php/2010/03/issues-and-opportunities-of-google-nexus-one-and-its-impact-on-blackberry-and-apple/Hermes

Coke Mobile Phone: Coke as Power Sources

coke-mobile-phone-buyvertureplicacom

Cola is refreshing as it contains caffeine, it cal so be the power source of mobile phones. In the United Kingdom, Chinese female designer Daizi Zheng has designed a concept phone using coke to generate electricity based on a Nokia mobile phone, which will not produce potential pollution like unlike traditional batteries do when they run out of life, and the only waste produced is water and oxygen, so it is both economical and environmentally friendly. It is expected to be on sale in five years.

According to Daizi Zheng, in addition to coke, any soft drink can be the energy source so long as it is sugary. The core of design is a biocell, which uses enzymes to convert carbohydrates to electricity. Users only need to pour Coca-Cola into the mobile phone, and then they can observe the process as how coke transforms into water and oxygen from the transparent shell.

Daizi Zheng said that this bio-battery can work 3 to 4 times longer than traditional lithium battery after it is charged every time, and relevant technology is also making improvement as time goes by. It is reported that last year a Japanese company has introduced Nopopo liquid batteries, which use water, cola, beer or even urine to generate electricity.

Born in China and went to study Art and Design in London by 16, the 24-year-old Daizi Zheng is full of originality and has now become a well-known British product designer. According to her self-introduction on the website, she is most interested in the design of daily necessities, and she likes to offer people new experience and go over the events around her.

trackback:http://blog.buyvertureplica.com/index.php/2010/03/coke-mobile-phone-coke-as-power-sources/Gucci