Josep Duran Frigola


Art direction subject project for the remake of Fritz Lang's 1927 film 'Metropolis'.

22 years old graphic designer based in Barcelona. Currently studying a master in IDEP Barcelona and working as an intern at Forma & Co

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Yovo Bozhinovski

Private Home

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Ana Karen Solis

Pieza nº 5

Design wooden mortars.

Tradition and modernity are not fighting. This set of mortars created from stone and wood bases Tzalam is perfect for creating sauces and presentation of the same whole. So the user will feel happy to show off their mortars.

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Simon Duhamel / Ian Langohr

Jour de la Terre

Print and TV campaign to celebrate Earth Day.

Jour de la Terre Pinata from Simon Duhamel on Vimeo.


CONCEPT ART by Jonathan Lavoie

PINATAS crafted by Ian Langohr


Print and TV campaign to celebrate Earth Day.

Client: Jour de la Terre Québec
Agency: Sid Lee
Copywriter: Guillaume Bergeron
Art Director: Jonathan Lavoie
Service-conseil: Jacinthe Robert
Production: Jimmy Lee
Photographer: Simon Duhamel - Le consulat
Piñata Artist: Ian Langohr
Retouching: Visual Box, Graphiques M&H
Director: Louis-Philippe Eno
Production Company: Jet Films
Director of Photography: Simon Duhamel
Production: Nancy Thibodeau
Postproduction: Shed
VFX Supervision: Sylvain Lebeau
Postproduction coordinator: Josée-Anne Choquette
Studio: Le Consulat
Camera and Equipment: Vidéo MTL, Cinépool


Somewhere between photography and illustration, influenced by cinema, video games and pop culture, Simon Duhamel's photography registers in a modern approach to digital photography. Both photographer and retoucher, Duhamel knows ho to create unique scenes and ambiances for each of his realizations, providing each project with a distinct visual signature.

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Simon Duhamel

George Halabi


Sentinel is a free standing sculpture that I designed and made for my final major project at Leeds College of Art. I have used a similar lamination and carving technique as my previous projects the Ray Chair and Pillars. This was my first attempt at making a sculpture and the final design was created through the improvisation of initial sketches, gradually drawing onto the wood and carving its shape.

Material: American Maple Finish: Hardwax Oil

To create the laminated blank ready for carving I clamped up smaller sections first so that I could do a final glue up of all the components. I wanted to make an object that was quite large and detailed and at the same time be able to produce it alone without needing another person to help me lift and move parts of it around. 

To start off the sculpture I drew on a rough outline shape and rounded off all the corners. Once I had a fairly even surface I shaded in areas and drew lines to assist me while removing the bulk of the material. 

All of the carving was done using hand held power tools with various attachments. The final sanding and polishing was done by hand. The textured look on the surface is created by an Arbortech cutter on an angle grinder and then smoothed over using a sanding disc attachment. 

I found that sitting with my legs crossed while working in certain areas was the most comfortable way to work. Due to the sculptures strange shape many different positions had to be used. 

The sculpture was finished by hand using OSMO hard wax oil. I chose a certain type that contained titanium dioxide, this gives the oil a white tint which allows the wood to retain its natural colour. 

The reason I chose to name this sculpture 'Sentinel' is because every morning when I would walk into the room towards the sculpture I noticed its dominating presence in the room. 

To gain inspiration for this project I explored the environment that I grew up in. London is full of interesting architecture and one of my favourite buildings is the Roca Gallery in Chelsea. The whole building is designed to imitate eroded rock formations. Which matched the natural flow I wanted to create for the sculpture. 

The holes in the walls of the Roca Gallery gave the rooms an added depth and created interesting viewing points inside the building. Once I added the holes to the sculpture its structure looked more fluid and less bulky. 

One of the first sketches I did of natural growth was this goat skull that I own. The twisting of the horn creates a beautiful organic and natural form. Before I created the sculpture I created various models experimenting with carved curves and lines. 

I preferred the lines to be as crisp as possible and the texture of the wood to completely smooth. The reason for this is because I believed that if I was going to shape this piece of wood I wanted the end result to be at its optimum quality, in terms of form and finish. 

Photography - Alessandro de Besi

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