For a recent project at Koncept Design Studio, I created a photo illustration used to advertise a ghost tour of historic downtown Savannah, offered by our client to high level decision makers attending an industry conference in the area. The event included cocktails and sweets by Paula Deen’s The Lady and Sons restaurant.
By default, QR codes aren’t particularly pretty to look at, and have a tendency to look drastically out of place with their cold, technical appearance. The good news is that QR codes don’t necessarily need to be so hard on the eyes, and can actually be customized (within reason) to not only match a brand, but even to stand on its own to represent a brand.
QR codes can never be inverted to a negative image. What is black in the standard QR code must always be darker than the background (white in a standard QR code). They will not be readable by scanning software if the actual “code” (the black squares) are lighter than their background.
More abstract geometric art! I’m having way too much fun with this!
I’ve always been fascinated by fractal geometry and the idea of an infinitely repeating pattern that continues within itself indefinitely. In his well-known paper “How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension“, mathematician Benoit Mandelbrot developed the coastline paradox, which basically says that the length of the coastline of Britain can’t be accurately measured, because you can always look closer and closer, and measure every minute fractal detail. I always found that to be an incredibly interesting concept that resonated with me.
I’ve always loved fractal art too, and have posted some of my own previous abstract fractal forms I’ve worked on. Lately, I’ve been really interested in geometry in my design work – incorporating ordered, structured ratios into it – and have been looking to try incorporating these same principles into my personal art. With that in mind, here’s a few geometric fractal images I’ve been working on. These were created poster-sized (24″w x 36″h) in Adobe Illustrator, with post-processing in Photoshop for fine-tuning the color, texture, contrast, and detailing.
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