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Personal 3D Explorations by Marterium AoiroStudio0206—23 Munich-based artist Marterium is a talented 3D artist who is constantly pushing the boundaries of creativity and exploring new dimensions in his art. His art series titled "Mentis Abstractae", is a collection of Marterium's abstract 3D artworks that showcase his unique perspective on the world and his ability to bring abstract concepts to life through his art. The series explores themes such as creativity, consciousness, and the inner world, and it is characterized by its use of vibrant colors, intricate details, and organic forms. Exploration is an important part of the creative process, and Marterium has been able to develop a unique style that is all his own and has captured the attention of art lovers around the community. Exploring different techniques, colors, and materials to create visually pleasing compositions. 3D Art Marterium is a 3D artist based in Munich, Germany. You...
over a year ago

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More from abdz.do - Have you given up on being inspired?

Pràctica Redesigns 9+ Wine brand identity and packaging design

Pràctica Redesigns 9+ Wine brand identity and packaging design abduzeedo0511—23 Barcelona-based design studio Pràctica has unveiled a new label design for 9+ wines, a natural wine producer based in Catalonia, Spain. The new labels feature a bold, graphic design that is both eye-catching and informative creating a beautiful packaging design. The 9+ winery is unique in that it is the only winery in Catalonia, and perhaps in the world, whose name is a number, not a word. This presented a challenge for Pràctica, as they needed to create a label design that would be both memorable and easy to understand. The solution was to use a simple, yet effective, naming and graphic system. Each label features the number 9+, followed by the name of the wine and the grape variety. The background of each label is a different color, which helps to visually differentiate the different wines. This project presented the challenge of designing 15 labels, all under a global image but with different families: Base, Selection, and Sparkling. This need led us to create a naming and graphic system that orders and enumerates the wine bottles, not only to rationalize the wide range of products, but to strengthen the winery’s identity as well as to make it stand out from the natural wine sector. Here are some of the key features of the new 9+ labels and packaging design: Bold, graphic design that is both eye-catching and informative Simple, yet effective, naming and graphic system Different background colors for each wine to help visually differentiate the different wines Clean, modern website design that is easy to navigate Information about the winery, the wines, and the winemaking process The new 9+ labels are a significant improvement over the previous designs. They have helped to make 9+ wines more visible and accessible to consumers, and they have helped to strengthen the winery's identity. Packaging design artifacts Credits Printed at Chalaguier Photographed by Enric Badrinas Fonts in use: FK Screamer by Florian Karsten & GT Alpina by Grilli Type For more information make sure to check out Pràctica website.

over a year ago 108 votes
Custom Font made of shapes and patterns for John Lewis (UK)

Custom Font made of shapes and patterns for John Lewis (UK) AoiroStudio0510—23 In the world of graphic design, there are few studios as talented and innovative as Hola Bosque™. Based in the vibrant city of Buenos Aires, Argentina, this creative powerhouse has been making waves with their exceptional design work. One of their recent collaborations was with John Lewis UK, where they brought their unique touch to the creation of a custom font and special shapes and patterns for the new Kidswear campaign. John Lewis UK is renowned for its high-quality products and commitment to exceptional design. When they sought a partner to elevate their Kidswear campaign to new heights, they turned to Hola Bosque™ for their expertise. And the result was nothing short of remarkable. The team at Hola Bosque™ embarked on the project with a clear vision in mind - to create a visual language that would capture the imagination of young audiences while staying true to the brand's identity. They knew that typography would play a crucial role in conveying the campaign's message effectively. So, they set out to design a custom font that would be unique, playful, and perfectly aligned with the target audience. They didn't just stop at creating a custom font; they also crafted special shapes and patterns that would complement and enhance the overall visual experience. The team carefully curated a collection of playful elements that incorporated vibrant colors, whimsical illustrations, and captivating patterns. The result was a harmonious blend of typography, shapes, and patterns that brought the Kidswear campaign to life. The custom font became the voice of the campaign, while the special shapes and patterns added depth and visual interest to the designs. Every detail was carefully considered, ensuring that the final outcome was a true reflection of the brand's values and captured the hearts of both children and parents alike.   Typography Hola Bosque™ is a digital studio based Buenos Aires, Argentina. You can follow more of their works via the shared links below. Behance Twitter Team Design & Art Direction: HolaBosque Design Lead, Pattern Design and Illustration: Bernardo Henning Art Direction Lead for John Lewis: Nic Duffy Renders: Pablo Colabella Photography: Nerys Jones Agency: The Different Folk   All product photos are used only for presentation for non-commercial purposes only. All rights reserved.

over a year ago 96 votes
Art direction and branding for Port3 Web3 Experience

Art direction and branding for Port3 Web3 Experience abduzeedo0510—23 Shin Bao, K.K, and Emma Wang have collaboratively embarked on a remarkable branding and design project aimed at developing a visually captivating website and art direction that effectively communicates the brand identity and functionality of Port3. This groundbreaking platform aggregates and standardizes off-chain/on-chain data, constructing a social data layer that holds immense potential for web3 use cases. With a primary focus on their key product, SoQuest, Port3 aims to establish itself as a leading force in the realm of web3 technology. The website design meticulously captures Port3's brand position, elucidating its mission to aggregate and standardize data for universal accessibility. With a user-centric approach, the website visually communicates Port3's commitment to empowering users in the web3 ecosystem. The design showcases the brand's expertise in blending off-chain and on-chain data to create a robust social data layer, facilitating seamless interactions and unlocking new possibilities for decentralized applications. Shin Bao, K.K, and Emma Wang's art direction expertise shines through in the visually appealing aesthetics of Port3's web presence. Employing a harmonious combination of vibrant colors, clean lines, and intuitive navigation, the design captivates visitors and guides them through the brand's story. The art direction creates a cohesive visual language that reinforces the cutting-edge nature of Port3's technology and fosters a sense of trust among users. Port3's branding and  visual identity is carefully crafted to resonate with the web3 community. The logo design embodies the brand's core values, representing the aggregation and standardization of data in a simple yet powerful manner. The choice of colors evokes a sense of innovation, while the typography exudes a modern and approachable vibe. This cohesive visual identity sets the tone for Port3's presence in the web3 space, establishing it as a reliable and forward-thinking platform. Through their collaborative efforts, Shin Bao, K.K, and Emma Wang have successfully created a visually captivating website, art direction, and brand visual identity for Port3. This design project effectively communicates the brand's mission of aggregating and standardizing off-chain/on-chain data to build a powerful social data layer for web3 use cases. With a strong focus on SoQuest, Port3's key product, the design showcases the brand's expertise and commitment to driving innovation in the web3 ecosystem. As Port3 continues to make strides in revolutionizing data accessibility, its visually appealing website and cohesive brand visual identity will undoubtedly play a significant role in capturing the attention and trust of the web3 community. Art direction and branding artifacts For more information make sure to check out Shin Bao, K.K, and Emma Wang Behance profiles.

over a year ago 84 votes
Pixel Art Delight: art direction and illustrations for Foxbat Five

Pixel Art Delight: art direction and illustrations for Foxbat Five abduzeedo0509—23 Renowned artist Margarita Solianova has embarked on a creative journey, shaping the visual identity of the indie arcade game, Foxbat Five. Solianova's exceptional art direction and stunning pixel art illustrations transport players into a captivating world, rich in nostalgic charm and classic gaming aesthetics. Solianova's art direction for Foxbat Five embraces the essence of classic pixel art, paying homage to the golden era of gaming. The project showcases a masterful blend of intricate designs, vibrant color palettes, and meticulous attention to detail, resulting in a visually immersive experience that strikes a chord with both seasoned gamers and nostalgic enthusiasts. The heart and soul of Foxbat Five lie in Margarita Solianova's pixel art illustrations. Her exceptional talent is evident in every character, environment, and animation. Each pixel is thoughtfully placed, infusing life into the game's imaginary universe. Solianova's illustrations boast a timeless appeal, skillfully conveying the personalities and emotions of the characters while evoking a sense of wonder and awe among players. Within the pixelated realm of Foxbat Five, Solianova's illustrations bring the concept of traction and gravity to life. The characters' movements are fluid, capturing the essence of their interactions with the environment. Solianova's art direction enables players to visually comprehend the physics-based mechanics of the game, deepening their immersion into this captivating digital world. Margarita Solianova's art direction and pixel art illustrations for Foxbat Five breathe new life into the indie arcade game, enchanting players with their timeless beauty and meticulous attention to detail. Pixel art samples      For more information make sure to check out Margarita Solianova on Behance. You can also download Foxbat Five on the Google Play

over a year ago 87 votes
Flore — A Collection of Digital Illustrations

Flore — A Collection of Digital Illustrations AoiroStudio0508—23 Laura Normand is a talented Paris-based artist whose work revolves around vibrant and captivating digital illustrations. With a particular focus on flowers, her series of colorful artworks brings the beauty and allure of nature to life in a unique and captivating way. Normand's digital illustrations are characterized by their bold and vivid color palettes, intricate details, and a whimsical touch. She expertly captures the essence of different flowers, from delicate roses to exotic orchids, and transforms them into eye-catching compositions that exude a sense of joy and energy. Through her art, Normand explores the intersection of nature and digital technology, blending the organic forms of flowers with the precision and versatility of digital illustration tools. Her work showcases a deep appreciation for the intricacies of botanical shapes, textures, and patterns, and she skillfully employs various digital techniques to bring out their vibrant qualities. The use of vibrant colors in Normand's illustrations adds a dynamic and lively element to her artworks. Each artwork is a celebration of the diverse and rich hues found in nature, showcasing a harmonious interplay of bold and contrasting tones. The result is a visually stunning series that is both visually pleasing and emotionally evocative. Digital Illustration   Laura Normand is an Pop & Trippy! Artist based in Paris, France.  You can follow more of her works via the shared links below. Personal Site Behance Instagram   All product photos are used only for presentation for non-commercial purposes only. All rights reserved.

over a year ago 98 votes

More in design

PAC – Personal Ambient Computing

The next evolution of personal computing won’t replace your phone — it will free computing from any single device. Like most technologists of a certain age, many of my expectations for the future of computing were set by Star Trek production designers. It’s quite easy to connect many of the devices we have today to props designed 30-50 years ago: The citizens of the Federation had communicators before we had cellphones, tricorders before we had smartphones, PADDs before we had tablets, wearables before the Humane AI pin, and voice interfaces before we had Siri. You could easily make a case that Silicon Valley owes everything to Star Trek. But now, there seems to be a shared notion that the computing paradigm established over the last half-century has run its course. The devices all work well, of course, but they all come with costs to culture that are worth correcting. We want to be more mobile, less distracted, less encumbered by particular modes of use in certain contexts. And, it’s also worth pointing out that the creation of generative AI has made the corporate shareholders ravenous for new products and new revenue streams. So whether we want them or not, we’re going to get new devices. The question is, will they be as revolutionary as they’re already hyped up to be? I’m old enough to remember the gasping “city-changing” hype of the Segway before everyone realized it was just a scooter with a gyroscope. But in fairness, there was equal hype to the iPhone and it isn’t overreaching to say that it remade culture even more extensively than a vehicle ever could have. So time will tell. I do think there is room for a new approach to computing, but I don’t expect it to be a new device that renders all others obsolete. The smartphone didn’t do that to desktop or laptop computers, nor did the tablet. We shouldn’t expect a screenless, sensor-ridden device to replace anyone’s phone entirely, either. But done well, such a thing could be a welcome addition to a person’s kit. The question is whether that means just making a new thing or rethinking how the various computers in our life work together. As I’ve been pondering that idea, I keep thinking back to Star Trek, and how the device that probably inspired the least wonder in me as a child is the one that seems most relevant now: the Federation’s wearables. Every officer wore a communicator pin — a kind of Humane Pin light — but they also all wore smaller pins at their collars signifying rank. In hindsight, it seems like those collar pins, which were discs the size of a watch battery, could have formed some kind of wearable, personal mesh network. And that idea got me going… The future isn’t a zero-sum game between old and new interaction modes. Rather than being defined by a single new computing paradigm, the future will be characterized by an increase in computing: more devices doing more things. I’ve been thinking of this as a PAC — Personal Ambient Computing. Personal Ambient Computing At its core is a modular component I’ve been envisioning as a small, disc-shaped computing unit roughly the diameter of a silver dollar but considerably thicker. This disc would contain processing power, storage, connectivity, sensors, and microphones. The disc could be worn as jewelry, embedded in a wristwatch with its own display, housed in a handheld device like a phone or reader, integrated into a desktop or portable (laptop or tablet) display, or even embedded in household appliances. This approach would create a personal mesh network of PAC modules, each optimized for its context, rather than forcing every function in our lives through a smartphone. The key innovation lies in the standardized form factor. I imagine a magnetic edge system that allows the disc to snap into various enclosures — wristwatches, handhelds, desktop displays, wearable bands, necklaces, clips, and chargers. By getting the physical interface right from the start, the PAC hardware wouldn’t need significant redesign over time, but an entirely new ecosystem of enclosures could evolve more gradually and be created by anyone. A worthy paradigm shift in computing is one that makes the most use of modularity, open-source software and hardware, and context. Open-sourcing hardware enclosures, especially, would offer a massive leap forward for repairability and sustainability. In my illustration above, I even went as far as sketching a smaller handheld — exactly the sort of device I’d prefer over the typical smartphone. Mine would be proudly boxy with a larger top bezel to enable greater repair access to core components, like the camera, sensors, microphone, speakers, and a smaller, low-power screen I’d depend upon heavily for info throughout the day. Hey, a man can dream. The point is, a PAC approach would make niche devices much more likely. Power The disc itself could operate at lower power than a smartphone, while device pairings would benefit from additional power housed in larger enclosures, especially those with screens. This creates an elegant hierarchy where the disc provides your personal computing core and network connectivity, while housings add context-specific capabilities like high-resolution displays, enhanced processing, or extended battery life. Simple housings like jewelry would provide form factor and maybe extend battery life. More complex housings would add significant power and specialized components. People wouldn’t pay for screen-driving power in every disc they own, just in the housings that need it. This modularity solves the chicken-and-egg problem that kills many new computing platforms. Instead of convincing people to buy an entirely new device that comes with an established software ecosystem, PAC could give us familiar form factors — watches, phones, desktop accessories — powered by a new paradigm. Third-party manufacturers could create housings without rebuilding core computing components. Privacy This vision of personal ambient computing aligns with what major corporations already want to achieve, but with a crucial difference: privacy. The current trajectory toward ambient computing comes at the cost of unprecedented surveillance. Apple, Google, Meta, OpenAI, and all the others envision futures where computing is everywhere, but where they monitor, control and monetize the flow of information. PAC demands a different future — one that leaves these corporate gatekeepers behind. A personal mesh should be just that: personal. Each disc should be configurable to sense or not sense based on user preferences, allowing contextual control over privacy settings. Users could choose which sensors are active in which contexts, which data stays local versus shared across their mesh, and which capabilities are enabled in different environments. A PAC unit should be as personal as your crypto vault. Obviously, this is an idea with a lot of technical and practical hand-waving at work. And at this vantage point, it isn’t really about technical capability — I’m making a lot of assumptions about continued miniaturization. It is about computing power returning to individuals rather than being concentrated in corporate silos. PAC represents ambient computing without ambient surveillance. And it is about computing graduating its current form and becoming more humanely and elegantly integrated into our day to day lives. Next The smartphone isn’t going anywhere. And we’re going to get re-dos of the AI devices that have already spectacularly failed. But we won’t get anywhere especially exciting until we look at the personal computing ecosystem holistically. PAC offers a more distributed, contextual approach that enhances rather than replaces effective interaction modes. It’s additive rather than replacement-based, which historically tends to drive successful technology adoption. I know I’m not alone in imagining something like this. I’d just like to feel more confident that people with the right kind of resources would be willing to invest in it. By distributing computing across multiple form factors while maintaining continuity of experience, PAC could deliver on the promise of ubiquitous computing without sacrificing the privacy, control, and interaction diversity that make technology truly personal. The future of computing shouldn’t be about choosing between old and new paradigms. It should be about computing that adapts to us, not the other way around.

2 days ago 2 votes
Junshanye × Googol by 古戈品牌

Unlocking the Code of Eastern Beauty in National Tea Where Mountains and Waters Sing in Harmony Nature holds the secrets...

3 days ago 4 votes
Why AI Makes Craft More Valuable, Not Less

For the past twenty to thirty years, the creative services industry has pursued a strategy of elevating the perceived value of knowledge work over production work. Strategic thinking became the premium offering, while actual making was reframed as “tactical” and “commoditized.” Creative professionals steered their careers toward decision-making roles rather than making roles. Firms adjusted their positioning to sell ideas, not assets — strategy became the product, while labor became nearly anonymous. After twenty years in my own career, I believe this has been a fundamental mistake, especially for those who have so distanced themselves from craft that they can no longer make things. The Unintended Consequences The strategic pivot created two critical vulnerabilities that are now being exposed by AI: For individuals: AI is already perceived as delivering ideas faster and with greater accuracy than traditional strategic processes, repositioning much of what passed for strategy as little better than educated guesswork. The consultant who built their career on frameworks and insights suddenly finds themselves competing with a tool that can generate similar outputs in seconds. For firms: Those who focused staff on strategy and account management while “offshoring” production cannot easily pivot to new means of production, AI-assisted or otherwise. They’ve created organizations optimized for talking about work rather than doing it. The Canary in the Coal Mine In hindsight, the homogeneity of interaction design systems should have been our warning. We became so eager to accept tools that reduced labor — style guides that eliminated design decisions, component libraries that standardized interfaces, templates that streamlined production — that we literally cleared the decks for AI replacement. Many creative services firms now accept AI in the same way an army-less nation might surrender to an invader: they have no other choice. They’ve systematically dismantled their capacity to make things in favor of their capacity to think about things. Now they’re hoping they can just re-boot production with bots. I don’t think that will work. AI, impressive as it is, still cannot make anything and everything. More importantly, it cannot produce things for existing systems as efficiently and effectively as a properly equipped person who understands both the tools and the context. The real world still requires: Understanding client systems and constraints Navigating technical limitations and possibilities Iterating based on real feedback from real users Adapting to changing requirements mid-project Solving the thousand small problems that emerge during implementation These aren’t strategic challenges — they’re craft challenges. They require the kind of deep, hands-on knowledge that comes only from actually making things, repeatedly, over time. The New Premium I see the evidence everywhere in my firm’s client accounts: there’s a desperate need to move as quickly as ever, motivated by the perception that AI has created about the overall pace of the market. But there’s also an acknowledgment that meaningful progress doesn’t come at the push of a button. The value of simply doing something — competently, efficiently, and with an understanding of how it fits into larger systems — has never been higher. This is why I still invest energy in my own craft and in communicating design fundamentals to anyone who will listen. Not because I’m nostalgic for pre-digital methods, but because I believe craft represents a sustainable competitive advantage in an AI-augmented world. Action vs. Advice The fundamental issue is that we confused talking about work with doing work. We elevated advice-giving over action-taking. We prioritized the ability to diagnose problems over the ability to solve them. But clients don’t ultimately pay for insights — they pay for outcomes. And outcomes require action. They require the messy, iterative, problem-solving work of actually building something that works in the real world. The firms and individuals who will thrive in the coming years won’t be those with the best strategic frameworks or the most sophisticated AI prompts. They’ll be those who can take an idea — whether it comes from a human strategist or an AI system — and turn it into something real, functional, and valuable. In my work, I regularly review design output from teams across the industry. I encounter both good ideas and bad ones, skillful craft and poor execution. Here’s what I’ve learned: it’s better to have a mediocre idea executed with strong craft than a brilliant idea executed poorly. When craft is solid, you know the idea can be refined — the execution capability exists, so iteration is possible. But when a promising idea is rendered poorly, it will miss its mark entirely, not because the thinking was wrong, but because no one possessed the skills to bring it to life effectively. The pendulum that swung so far toward strategy needs to swing back toward craft. Not because technology is going away, but because technology makes the ability to actually build things more valuable, not less. In a world where everyone can generate ideas, the people who can execute those ideas become invaluable.

4 days ago 4 votes
Noise Beer by Kate Minchenok

Noise Beer is a collection of craft and dark beers whose visual identity is inspired by the noise music genre...

6 days ago 6 votes
visual journal – 2025 May 25

Many Grids I’ve been making very small collages, trying to challenge myself to create new patterns and new ways of connecting form and creating space. Well, are we? The last page in a book I started last year.

a week ago 10 votes