CURRICULUM VITAE
P O RT F O L I O
GRAPHIC DESIGN FURNITURE DESIGN
Adriaan Tas
P. Van Cauwelaertstraat 33 1740 Ternat +32(0)470 67 04 57
[email protected] www.adriaantas.be
CURRICULUM VITAE
Curriculum vitæ PERSONAL INFORMATION EDUCATION
Date of birth 28/06/1991 Place of birth Asse
Latijn-Modern Languages Sint-Jozef Institute,Ternat 2005 — 2009
COMPETITIONS, EXHIBITIONS & FAIRS Competition - Furniture design “Vlinders van hout” Fritz Hansen & Bulo Selected for exhibition 2014 Fair - Scenography “Fair stand Ventura Lambrate, Milan” Labt 2014 Competition/fair - Furniture design “Tschichold” Design Platform Flanders Free Fair stand at Ventura Interieur 2014 Exhibition - Scenography “Embedded Architectures” Flemish Architecture institute 2014
Latin-Mathematics Sint-Jozef Institute,Ternat 2003 — 2005
Graphic Design LUCA school of arts, Ghent 2009 — 2013 Internship Blauwberg, Meise 2013
FURNITURE DESIGN
Phone number +32 470 67 04 57 E-mail
[email protected]
GRAPHIC DESIGN
Name Adriaan Tas Address P. Van Cauwelaertstraat 33 1740 Ternat Belgium
Internship Labt, Gent 2014 Furniture Design Thomas More, Mechelen 2013 — 2014
SOFTWARE SKILLS Adobe Indesign Adobe Illustrator Adobe Photoshop Google Sketchup Autocad Vectorworks
LANGUAGE SKILLS Dutch English French
CURRICULUM VITAE
Graphic Design
GRAPHIC DESIGN
FURNITURE DESIGN
CURRICULUM VITAE
GRAPHIC DESIGN
FURNITURE DESIGN
CURRICULUM VITAE GRAPHIC DESIGN FURNITURE DESIGN
De Grafische Cel #02 Poster 1189 x 841 mm 2012 www.grafischecel.be
“De Grafische Cel” is an institution for research by the Graphic Design departement at Sint-Lucas Beeldende kunsten, Ghent. This poster was designed for the second exhibitionorganised by “De Grafische Cel”. The purpose of the exhibition was to offer a platform for the work of recently graduated students of the department. During the exhibition their work was placed in five showcases that were positioned perpendicular next to eachother. This arrangement was also used for the layout of the poster, where you can retrieve additional information about the works showcased in each showcase. By doing so the poster provides an abstract image of the exhibition. This enabled the visitors to understand the purpose of the setup without any further instructions and allowed them to fully focus on the work that was shown.
CURRICULUM VITAE
PYGMALION & GALATEA
GRAPHIC DESIGN
… AND OTHER UNUSUAL LOVE STORIES
Publication 210 x 148 mm (closed) 2012
“Prometheus, it is said, brought fire to service of mankind. Electricity we owe to Faraday.” — William Henry Bragg This quote was the starting point for the publication. I was asked to make a visual and intellectual comparison between the accomplishments and personality of Faraday and Prometheus. According to ancient Greek myth, Prometheus stole fire from the Gods and gave it to mankind. As a result, man learned to use and manipulate it to develop all sorts of technical applications. And so Prometheus became a symbol for the inventor as he learned mankind to gain knowledge through experimenting. Faraday, on the other hand offered mankind the gift of electricity through his own experiments. Due to these findings about the importance of experimenting I decided to make this publication a sequence of graphic experiments, in which I went looking for new techniques to enhance my own graphic language, which I then applied to the content of the book.
FURNITURE DESIGN
Faraday
CURRICULUM VITAE GRAPHIC DESIGN Publication 195 x 292 mm (closed) 2014
The Greek myth of Pygmalion & Galatea is a part of Ovid’s “Methamorphosis” and tells the story of a tortured prince and sculptor named Pygmalion, who felt a great displeasure for the women of his time due to their promiscuous behaviour. As a way of protest he lived as a hermit in his workshop where he worked on an ivory statue that he carved to resemble his dream wife. Later he fel in love with his own creation and begged Aphrodite to give him a bride that looked just like his own ivory lady. His pleas were heard and Aphrodite turned his ivory love into flesh and bones, after which they married immediately. In this publication, I examine the similarities between the myth and three remarkable TV documentaries in which people have a love affair with objects which they perceive as an experience with a mutual understanding. I achieved this goal by letting the two stories (the myth and one documentary) run parallel, and by adding a double footnote system that lets the reader jump back and forth between the stories. This way the stories read as one and the same.
FURNITURE DESIGN
Pygmalion & Galatea
CURRICULUM VITAE GRAPHIC DESIGN FURNITURE DESIGN
It’s Showtime Graphic Identity 2013 Poster 1189 x 841 mm Flyer, Invitation 210 x 148 mm Website digital
For Sint-Lucas, Ghent’s End-of-year exhibition we were asked to come up with a graphic identity for the publicity campaign. The given text “It’s showtime” needed to be translated into a design that could work on different platforms. I decided to perceive the individual letters of the sentence as an image. I accomplished this by letting the body of each letter fill up as much space as possible, where the page- or screen edge was considered the boundary. The images were generated by making small adjustments to the “Eurostile” typeface (Aldo Novaresse, 1962) that is well-known for it’s rectangular shapes. The contrast between the proportions of the letters and the page or screen provide a strong visual impact.
CURRICULUM VITAE GRAPHIC DESIGN
Regen douche Boven natuurlijk Acht tien Onder grond Letter ontwerp Tekst blok
Type design Opentype font 2014
The Léon Lepage street is located in the heart of Brussels. It derives its name from Léon Lepage, a former alderman of public education and lawyer. At the beginning of the street there is a memorial sign with distinctive lettering. Despite of the small amount of text (all in uppercase) it drew my attention due to some very characteristic constructions. For instance, the shape of the “P” of which the bow wasn’t completely closed, but ended in some sort of pointy hook was quite remarkable. In addition, the geometric construction of the lettering was striking. Thus the “A” was almost a perfect triangle, and the “O” a perfect circle. After carefully studying the available letterforms I defined a set of parameters from which I started to design a complete font. Once I had finished an entire font the idea dawned on me to make an additional version with an even higher contrast. The arches of this version are razor sharp. The final results are two font weights which do not differ very much from each other in their construction, but both have their own character and complement the existing lettering.
FURNITURE DESIGN
Léon Lepage
I hope you like jammin’ too
CURRICULUM VITAE GRAPHIC DESIGN
This book is now called Bob Marley because it’s always jammin’
Publication 210 x 297 mm (closed) 2014 Special thanks: Brother HL 5420
Fun at the office in the form of a book. It may sound familiar; your office printer isn’t doing what you expect from it. One time it does absolutely nothing, the other time it freezes or it begins to spout strange codes. A common reaction to this kind of incident is to put a label on it which reads: “This printer is now called Bob Marley because it’s always jammin“ with a picture of Bob Marley on it, to point out to your colleagues in a playful manner that the printer is having a rough day. The same thing happened to me. A simple print job made my printer completely lose it. As a result it decided to print numerous pages of bizarre codes. Once it decided it had wasted enough paper and toner I was left with a stack of paper filled with useless gibberish. Still, I chose not to throw it all away in the trash can, but regarded this event as a jam session and bundled the whole into a book. Then I designed a cover around the book block and gave it the appropriate title: “This book is now called Bob Marley because it’s always jammin.”
FURNITURE DESIGN
Bob Marley
CURRICULUM VITAE
Alvorens ik kan uitleggen waarom ik dit meubel wil maken dien ik de vraag te verduidelijken. De vraag is immers tweeledig. Waarom kies ik als functie voor een boekenmeubel, en waarom wordt de vorm bepaald door een grid? Laat ons beginnen bij de functie; om de gewenste functie van het meubel te verklaren zit ik nogal ongelukkig vast aan de bestaande terminologie rond meubilair, zo kan ik voorlopig niet veel anders doen dan het meubel in één woord te omschrijven als een boekenmeubel, ook al is het de ambitie van dit ontwerp om een aanzet te geven voor een ruimere opvatting van het begrip. Het doel voor dit ontwerp is om een instrument te maken dat de mogelijkheid biedt om verschillende vormen van drukwerk onderdak te bieden, alsook de mogelijkheid aan te reiken de inhoud ervan op verschillende wijzes te presenteren, of te verstoppen. Het is immers niet echt eerbiedig te noemen dat andere vormen van drukwerk uitgesloten worden in op een boekenmeubel. Tevens merkte ik nog een belangrijk gebrek op van het alledaagse boekenmeubilair, met name dat ook de minder mooie, tot zelf ronduit lelijke boeken zij aan zij staan met de boeken die wel de moeite waard zijn om tentoon te spreiden. Hoe aangenaam is het immers om een boekenkast in huis te hebben die al het mooiste drukwerk (gaande van magazines, flyers, dichtbundels, romans tot zelfs affiches) uit je collectie tentoonstelt, en terzelfdertijd ook een plek heeft om de minder mooie exemplaren, die je om welke redenen dan ook niet doorverwezen krijgt naar de vuilnisemmer, te herbergen. Deze vorm van functionaliteit zou een interessante aanvulling kunnen vormen voor de huidige definitie van het boekenmeubel. De vorm van het meubel wil ik laten ontstaan vanuit een gridsysteem, en dit om verscheidene redenen. Zowel in de kunst als in de designwereld zijn de voordelen van proportie en structuur al uitgebreid onderzocht en bewezen. Ze vormen uitstekende hulpmiddelen bij het ontwikkelen van vormen waarbij eenvoud en rationaliteit in symbiose met elkaar omgaan.
GRAPHIC DESIGN
Enkele voorbeelden van ontwerpers die rond het thema van proporties en gridsystemen gewerkt hebben zijn: Joseph Müller-Brockmann, Le Corbusier, Dom Hans Van der Laan, Jan Tschichold… Vanuit mijn achtergrond als grafisch ontwerper weet ik dat er ook bij drukwerk al heel wat gezegd en geschreven is rond het gebruik van proporties en grids, daarom lijkt het mij voor een “drukwerkmeubel” dan ook interessant om het deze kennis rond de vorm van het drukwerk te vertalen naar de vorm van het meubel. Bij een juist gebruik van een grid kunnen er ook economische en ecologische voordelen zich aftekenen. Zo kunnen verschillende complexe problemen, eenmaal het grid opgesteld is op een uniforme manier opgelost worden binnen een beperkte tijdspanne. En door een zekere vorm van standarisatie kunnen overschotten vermeden worden, wat zowel economisch als ecologisch een voordeel vormt voor de productie.
Kortingsbon - Bon de reduction GELDIG TOT EN MET VALABLE JUSQU’AU
02/03/2014
Met vriendelijke groeten, Lorca
VERDUBBELING VAN DIT BEDRAG T.E.M. DOUBLANT LE MONTANT JUSQU’ AU
15/12/2013 Niet geldig bij aankoop van soldenartikelen N’est pas valable sur les articles soldés
LORCA BVBA
Lombardenveld 63, 1785 Merchtem +32(0) 52 49 96 96 —
[email protected] BTW: BE 0454.185.870 RPR: Brussel
Grimbergen Vilvoordsesteenweg 252 Groot-Bijgaarden Alfons Gossetlaan 51 Groot-Bijgaarden Brusselsestraat 222 Lennik Markt 10 Merchtem Markt 12 Merchtem Nieuwstraat 12 Wemmel Markt 41 Wemmel Concept Store Markt 24
LORCA BVBA Lombardenveld 63, 1785 Merchtem +32(0) 52 49 96 96 —
[email protected] BTW: BE 0454.185.870 RPR: Brussel
02 267 65 79 02 469 39 22 02 468 54 42 02 460 48 84 052 37 51 41 052 37 49 79 02 461 17 67 02 453 08 00
Graphic Identity 2014 Notepaper 210 x 297 mm Discount- & gift certificate 210 x 102 mm Business card 85 x 55 mm Display card 80 x 120 mm In collaboration with: Lien Peeters
Lorca is a clothing store for sophisticated women’s clothing with several affiliates in the Brussels area. Some brands that are currently on its shelves: A.P.C., Carven, Isabel Marant Étoile, Mascob, Vanessa Bruno Athé, … In addition, Lorca recently opened a Concept Store for interior articles. For the development of the corporate identity it was important that it suited the character of the store’s clothing. Very soon it became clear that the result should not draw too much attention, but had to be rather serene and sober. The aspect of material and texture is more important for these fashion brands than the size of the actual brand name on the clothes. Therefore, I initiated a search for the proper material for printing. The logo is foil printed on all the surfaces to add an extra texture, and a wide range of different paper types were examined to find the right one for their paper-based communication. The whole looks subdued and mature (especially in comparison to the previous identity) giving it a timeless feel so, it can easily outlive any fashion trends.
FURNITURE DESIGN
Lorca
CURRICULUM VITAE GRAPHIC DESIGN
WIRE #285 Publication 210 x 297 mm (closed) 2013
Wire is a music magazine that primarily focuses on underground music. I was asked to come up with a new design for one edition. As an extra, every photo in the magazine needed to be replaced by a self-portrait, based on the pose of the person in the original image. I decided to run the cable of a professional headset through the entire magazine. Something very typical about this type of cable is that the pattern it draws is variable depending on the tension it undergoes. I wanted to apply this feature into the design of the magazine. I chose three different densities and I linked it to each article. So when the density of the wire changed, so did the images and typography. As a result it seemed like enitre the magazine constantly stretched or compressed.
FURNITURE DESIGN
Manu’s Eetkroeg
CURRICULUM VITAE
Furniture Design
GRAPHIC DESIGN FURNITURE DESIGN
Eetkroeg Manu Graphic identitity 2013 - present
Eetkroeg Manu is a traditional folk restaurant in Ternat, near Brussels. Over the years it has transformed from a small café into a large restaurant with an established and delicious menu. I wanted to project the character of this place, in the graphic identity, so I chose to use a reasonable sturdy letter with Belgian roots i.e. “Plantin.” This letter was drawn by Fritz Stelzer and Frank Hinman Pierpont, and was inspired by a font by Robert Granjon located in the Plantin-Moretus Museum in Antwerp. I combined this font with some typical textures and surfaces that can be found in the pub.
CURRICULUM VITAE
GRAPHIC DESIGN
FURNITURE DESIGN
CURRICULUM VITAE © Filip Dujardin
GRAPHIC DESIGN FURNITURE DESIGN
Labt Exhibition stand Ventura Lambrate, Milan 2014 www.labt.be
Labt is a design label from Ghent that originated in 2011 under the guidance of Frank Ternier. Under this name it markets furniture and objects. In addition to its own designs, Labt also invites guest designers to take part in the story such as Jan & Randoald, JIJ’s, Henk De Smet & Paul Vermeulen, Marc Supply & Anneli Lahtua. The products are available in stores in Ghent, Paris, Tokyo, Copenhagen, Rome and Munich. In order to increase its international scope, Labt regularly participates in international furniture fairs such as Maison et Objet in Paris, Biennale Interieur in Kortrijk and Ventura Lambrate in Milan. For their last fair I was asked to design the exhibition stand. The result was a pegboard with a milled pattern, onto which all kinds of modules could be attached. This way objects, furniture and printed matter could be presented in a dynamic way and one could continuously play around with the composition during the fair.
CURRICULUM VITAE GRAPHIC DESIGN © Isabel Rottiers
FURNITURE DESIGN
Tschichold Storage system 1494 x 348 x 2241 mm 2014
Tschichold is a shelving system that is designed according to the design principles of what it showcases. It serves as a storage space for different forms of printed material. Its architecture is the same as that of a poster or a page in a book; where available space is divided into separate grid fields in each of which a different content can be placed. As a result, the appearance of the shelf is highly configurable. Shelves and side panels can be chosen from a permanent collection of designs or a temporary offer by guest designers. This allows the user to define the shape of the shelf, just like the graphic designer or typographer puts together the content on a page.
CURRICULUM VITAE GRAPHIC DESIGN © Laura Dams
FURNITURE DESIGN
Open call: Tschichold Competition 2014
In addition to the existing collection of designs for the shelves and side panels of Tschichold I wanted to offer other designers the opportunity to create their own design. To achieve this goal, I organised an open call through social media.The assignment was easy: find a new destination for a wooden panel with dimensions of 486 x 324 mm. The participants had a chance to win a reproduction of their work and a 50% cut of the profit made on the sale of that specific panel, if it were to be sold. The competition attracted entries from all over the world. I received entries from Canada, Israel, Italy, United Kingdom, Belgium, ... After receiving all the entries a winner was determined by collecting likes. The winning design, which belongs to Laura Dams, is pictured above.
CURRICULUM VITAE FURNITURE DESIGN
Competition / Exhibition Fritz Hansen & Bulo 2014
This project was an entry for a contest organised by Fritz Hansen and Bulo. The objective was to devise a new purpose for a wooden shell of the series 07 chair by Arne Jacobsen. These shells were rejected on the production line due to a manufacturing error. I decided to put the story behind the fame of the chair in the spotlight because only a few people know the true story. At the height of the Profumo affair, a scandal that arose around the former British Minister for Foreign Affairs; John Profumo, photographer Lewis Morley made the top right portrait of Christine Keeler. It was supposed to serve as a promotional image for the film: “The Keeler affair”, which ultimately never appeared in theaters. The chair on which Keeler is sitting is a replica of the 07 series that Morley bought and to which he added a handle in order to avoid legal troubles with Fritz Hansen. This image caused an incredible boost for sales of the original design by Arne Jacobsen. As a response, I made a counterfeit with a real shell: I obtained an “authentic fake” of an imitation and I brought this intruiging story behind the chair back to life. Of more than 120 entries, this design was selected, along with nine others for an exhibition at the Bulo headquarters in Mechelen.
© Lewis Morley
© Jonas Van Bouwel
GRAPHIC DESIGN
The Keeler Affaire
CURRICULUM VITAE GRAPHIC DESIGN FURNITURE DESIGN
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Lorca
Clothing shelves 2014
Besides the graphic identity I developed for Lorca, I also drew a design for new clothing racks for use in their flagship store. Similar to their previous graphic identity, the store’s furniture was also rather dull and heavy. Therefore, I devised a modular suspension system with which clothes could be presented. By using different configurations, the garments could be presented in different ways. Clothing can be placed upon shelves with adjustable height or it can be hung on a rail. The whole design looks light and its use is very flexible. As a feature the steel cables can be covered with a textile socket.
CURRICULUM VITAE GRAPHIC DESIGN
Harry
Gruyaert
Architectuur Vlaams Architectuurinstituut
FURNITURE DESIGN
Cheese & Meat Cheese plate & cutting board 2014
Cheese and Meat are two serving trays that look like what normally would be served on them. “Cheese” is a yellow cheese plate made from polyethene which is punctured to make it look like a slice of cheese, and makes it easy to hold. Meat is a cutting board made of a red marble which is laced with white lines, making it look like a piece of meat.
middenin
CURRICULUM VITAE GRAPHIC DESIGN FURNITURE DESIGN
Embedded Architectures Scenography Flemish Architecture Institute 2014 Arts campus deSingel from friday 19 sep 2014 to sunday 4 jan 2015
The Flanders Architecture Book no. 11 gives a prominent place to architectural photography. In Harry Gruyaert’s photos, the buildings become colourful, poetic places to be. He shows architecture not as iconic models, but embedded in the routines of spending time, inhabiting, visiting, meeting and so on. Or in other words, architecture that is pointless without its users. The exhibition “Embedded architectures” presents the pictures in the form of a video so that they take on their own character, rhythm and eloquence and provide a fascinating complement to the photos published in the Flanders Architecture Book no. 11.
© Adriaan Tas 2014
