jake william richardson
Salvage was an identity project focusing on creating a brand identity for a fictional company, specialising in the manufacturing of up-cycled products and furniture.
Up-cycling, unlike recycling, is defined as the process of converting waste materials or useless products into new materials or products of better quality or better environmental value. This gave me the opportunity to experiment with unconventional materials in place of traditional paper based stationery.
The design for the project originated from the patterns found on the back of sandpaper. Often this information states the strength of the sandpaper amongst other product details. By replicating this aesthetic using details about the company to create a pattern, I laid the foundation of the graphics for the business.
Sandpaper often has no set registration due to the way it is produced; the position of the pattern often differs from sheet to sheet. With this in mind I printed onto much larger sheets of paper and them cut down with no attention to the registration of the prints, in order to give each item an individual positioning.
From early on I had decided that as the products produced by the company were up-cycled, I wanted the aesthetic of the identity to look like it too has been up-cycled. But what if the identity itself could be up-cycled? After some research, I stumbled across a group of designers working on what they called P&P Office Waste Paper Processor. This takes your waste paper, then glues and wraps it around a piece of led to make a pencil. From here, I played with the design of the letterheads and by leaving the logo at the bottom of the page, I was able to take the letterheads and inspiration from the aforesaid designers to create branded pencils.
A Waste of Energy
The second law of thermodynamics states that when one form of energy is turned into another it causes some energy to turn into a less useful form.
In order to represent the waste in heat I wanted to find something that would react to it. I simply typed in heat reactive paint to a search engine and found thermochromism; a chemically made pigment that changes colour in line with the temperature. It comes in two forms; liquid crystals, which have a set range of colours that they cycle through at specific temperatures, or leuco dye which when heated causes the pigment to go almost completely transparent. I felt that the latter would have more diversity to play with as it can reveal imagery.
As the second law of thermodynamics focuses on waste energy and more specifically heat energy, I wanted to find domestic products that change one form of energy to another. This would help to highlight the waste of heat and the general waste of energy the product produces when in use. Some examples that came to mind were light bulbs, refrigerators, hair dryers and and even cars. I focused on incandescent light bulbs as they create large amounts of heat waste.
Following my research and a few sketches, I decided to make a poster that at room temperature was completely black. I hung a lamp at each end of the poster; one with a energy saving light bulb and the other with an incandescent bulb. This caused the viewer to waste the energy of the bulb and simultaneously waste the time of the viewer as they search around the poster for the great reveal.
After some time I developed the work to simply highlight the waste of energy; one variation used only a hairdryer which made the piece much more effective, as it almost blamed the viewer for wasting energy just to see the hidden art work. I also worked on a range of platforms for products to rest on; an iPhone platform that highlights the sheer heat that the product wastes while charging and even a platform for a computer to rest on. The beauty of these were that they left an impression on the platform of where they had been placed whilst charging and thus heating up, demonstrating the point of project well.
This body of work is a visual game of consequences between Franc Gonzalez and myself. We employed two subjects as a starting point for each series of images; the first image inspired by found objects and each following image coming from the unconscious. We found this to be a visually interesting way to respond without any external influences. Once an image was received, we used our unconscious to decipher a context from what we saw and responded with a new image. We ran two 'conversations' at once, both giving each other an image of a found object to begin, and continued the process over both sequences until there were 15 images to each conversation.
We preliminarily finished the project by collating the images into 2 posters. This approach unfortunately ruined the feeling for a sequence; due to the diversity of images, the order was too unclear and often misleading. At this point we both decided to tackle this problem on our own; I opted for a book form. By defining the process of how we created the sequences at the beginning of the book the viewer will understand the sequence more clearly.
I chose to display each image on two spreads, one with the previous image and one with the later, in order to isolate the before and after image for the viewer to find the connection. With this in mind I chose not to define our thought process between images and leave connections unanswered like an open book.
This collection of abstract works is based on Renaissance and ancient Greek theories on the creation of beauty. Such theories included symmetry, Metatron's cube and the golden ratio.
I'm Not Bothered About Flowers
This short project was a response to the Henri Matisse quote, "There are flowers everywhere, for those who bother to look".
I felt that this was an overly overoptimistic comment. I decided it needed some comical leveling by taking some of his own paintings of flowers and using Photoshop's auto fill option to remove them entirely.