Built in your own image, your applications accompany your audience on an exchange. For a moment or over time, technology serves your voice.
It's by diving that you understand the oceans. Sometimes, you have to transport your audience into your world to convince them.
Much more than a logo. At the origin of your entire graphic universe, your visual identity, born of your vision, accompanies you and consolidates your creations.
Adapted from library contents or built for you, your illustrations are the ones you need, not the ones that fit.
Digitalization isn't a challenge; it's a project. There are ready-to-wear tools and tailor-made tools. It all depends on your genuine needs and how you analyze them.
Photography is a language, a representation that describes or invents your world. It is constructed and captured according to your needs.
Emotional or didactic, your videos are your image and your voice campaigning for your projects.
The canvas of the exhibition space and the medium are finite dimensional universes that can be tuned, made to resonate, and used to convey emotion.
Intellectualized, the place goes beyond the physical quality of things confines. The “what” and the “where”, through the links they impart, tend to make contact with the audience, producing questioning. “Why” and “how” vibrate between physical space and intellect, creating a resonance that becomes representation. The expression of a concept whose dimensions extend far beyond the installation.
Whether resulting from the guidance and federation of external agencies or orchestrated in-house, your digital projects are music sheets that play the tune of your campaigns. Whatever the simplicity of an actor's line, together they produce a complex and rich assembly, or simply smart melodies. Through turnkey solutions or tailor-made compositions, your digital projects are imbued with your identity; they resemble you and carry your tone.
Analysis and strategy are collegial creations, produced collectively through exchange and measurement. Rational and pragmatic, it stems from collective inventiveness and unites all those involved around a common goal: your project and your openness to the world. It is the tool from which your entire presence derives and which you share with your partners to tune your group and unify your efforts.
Marketing isn't a dogma; it's a construction, a creation with a strong identity to share with the audience. Channels, forms, and technologies are all pieces of the Lego box, but they're not all made for your project. Choosing them wisely means reinforcing your identity and channeling your resources. Digital is a means of marketing, and knowing how to identify the porosities or incompatibilities between your physical and cyber campaigns is also part of digital marketing.
Graphic design is a form that speaks for itself, investing its medium to adapt to the audience and convey the idea. The sincerity of the message also lies in the apparent simplicity and clarity of the means employed. Graphic design is there to assert your tone, establish your style, and convey your concepts without overloading them. Technologies and effects are not the message, nor are their demonstrations. They are part of the message and must be carefully chosen to elevate it.
Your platforms are the ambassadors of your project. They are often the first impression you leave on your audience. User experience is an iterative process, and the first step is to translate your systems and their use into a smooth journey. This journey is not a formality dictated by technology; it conveys your style and identity. It represents and resembles you. The path you wish to offer is yours to choose.
Whether it's transforming your concepts into a phrase that could be worn on a T-shirt, translating them into punchlines, synthesizing your presentations, or deepening your speeches, editorial is borrowed from your identity and serves your message. It generously conveys your message to your audience and asserts your uniqueness. Through decomposition, we go back to the semantic source to give your message the most personal form and reinforce it.
A concept is a mental entity; it has no form, no matter. Whether philosophical, psychological, or mathematical, it consists of an indirectly accessible intellectual construction. It's a statement. They are ideas transmitted by language and processed individually. Each receiver then acts on the concept to produce a construction that enables comprehension or the approach of comprehension.
In geometric mathematics, the concept is usually a sentence that can be directly echoed. It can produce an immediate imaged impulse and bring an object to life almost automatically. This is the case when the concept describes an object adapted to our reality and its dimensions. The resulting mental construction is natural.
In the case of an “impossible” object statement involving rules beyond our sensitive reach, our possession of the concept is limited to the sentence. There are as many constructions as there are people who grasp the concept. As the mental construction is the basis of projection around the concept, each individual elaborates it differently and deepens it in a different way.
These processes are protean and unique to each individual. The question that surrounds them is creative research, a production field that is still expanding.
x, y, z, and t are not enough; artistic production is an imprint. All objects reduce as soon as they interact. An element collapses into a state as soon as it is perceived. In the human perceptual field, it collapses until it fits into x, y, z, and t. Through the filter of the tool, the concept becomes a representation. It becomes intelligible and autonomous. The tool deploys a field of possibilities in a dimensional reality of its own.
The production of a representation induces denaturation inherent to the tool. The loss and fidelity of the representation depend on the tool's space. In this case, the concept is transposed and ported to this reality. The acceptability of the representation depends on the choice of replacement forms. Since representation cannot be perfect, the choice of losses and substitutions constitutes an aesthetic and sensitive gesture. The representation becomes a phase of the concept object, a state.
Access to the concept passes from reception by the senses to perception. A concept that has become perceptible is in a state of survival. Compromises of representation are brutal cuts in its substance. A concept that undergoes the successive filtering of representations crystallizes, frozen into a state, a residual object, an imprint.
I would be pleased to discuss your vision and needs.
Digital specialist & graphic designer