Tuesday, February 26, 2008
Sunday, February 24, 2008
Saturday, February 23, 2008
7 POSTCARD DESIGN TIPS TO CONNECT EMOTIONALLY WITH YOUR CUSTOMERS
Author: Carla San Gaspar
The postcard design makes it a great direct-mail-marketing tool that lets you keep your communication line with your customers open. With an appropriate and sufficient design, you can successfully relay clear-cut messages, establish your brand identity better, and even bring your business to life, among others.Emotional responses with creative designsMore than this, you can use your postcard design to create an emotional connection with your clients that builds the foundation of brand loyalty. When you want your business to be seen as part of your customers’ way of life, you have to find a way to connect with your customers’ own way of life.
1. Use pictures to put your products in your customers’ context. When customers think about buying their products, they think about what’s in it for them. When your customers think about purchasing a product, what they think about are ways they can use the product to improve their lives.
2. Photographs and graphics tell stories faster and more eloquently than your text. Make the customers’ tasks of imagining the possible use of your product and present them in pictures. For example, jewelry in a display shelf can look like a fortune, but when shown in the hands of a loved one is priceless. Use pictures to harness the power of suggestion.
3. Talk to your customers as you would a friend. Make your postcard sound like an enthusiastic friend telling you about a great shopping find instead of a used car salesman. Avoid hyped up words that set too high expectations that are impossible to meet.
4. “Break-though developments” “wonderkind”, “new and improved” these phrases sound important but hardly mean anything. Worse, they raise red flags that keep your customers on the defensive.
5. Simply tell your customers in plain and simple terms what they can benefit from your products or services. Use bullet points and numbers to make your text flow more smoothly.
6. Design postcards as mini-posters. Collecting postcards is among the most popular hobbies in the world. Tourists collect and buy postcards as a souvenir from their trip. There plenty of open groups too where postcard exchange clubs are widespread. You can use this to design your colored postcards in an attractive way that ensures your postcard is kept and even exchanged.
7. Create powerful postcards by using powerful pictures. These are often photographs, digital art, or graphics that are open to interpretation and invite customers into a conversation. They can range from modern to contemporary styles which can house multiple layers of meaning and are intriguing.
Postcards, after all, are more than business or marketing material.The problem with most advertisements is that they always push for the bottom line treating customers as mere statistics in their ledgers. As a small business owner, you can engage with your customers individually and try to personalize your services. You know your best customers and you can connect to them in more intimate ways. Send out postcards on their birthdays, know the value of maintaining a personal connection and extend courtesy through postcards. Do all these and translate your postcard design into creating that emotional connection that builds up your client relationship for the long run.
About the Author:
Postcards Design tips and articles can be found at My Postcard Printing
Friday, February 22, 2008
Considered the centerpoint for Thai independent filmmakers, 3rd First Frame Festival, the annual film festival for independent filmmakers co-organized by Nostromo Group and Alliance francaise of Bangkok, will be held between 22-23 January 2005 at Alliance Francaise of Bangkok, Sathorn Tai Road.
In addition to films sent, there are some works selected for 3rd First Frame Festival specially including Be Quite, the latest short film by Nona Nham whose first feature film will be released theatrically next year. Will by Thusaha Punsithiworakul whose Unseen Bangkok which had been premiered at the 2nd First Frame Festival was selected for Rotterdam Film Festival next year. And the lastest work by Pimpaka Towira the director of the international acclaimed "One Night Husband"...Unseen Thailand
Apart form showing, there will be talks after screening between filmmakers and audience so as to encourage young generations to make their own films. Also, there will be an award pesentation "First Frame Prestige Award" to the independent film veteran who make a contribution to Independent Film society.
THE 83rd ART DIRECTOR CLUB TRAVELLING EXHIBITION
June 1 - 30, 2005
The 83rd Art Director Club Travelling Exhibition from The Art Directors club. New York Organized by Communication Design Department, School of Fine and Applied Arts Bangkok University and Bangkok University Gallery
Thursday, February 21, 2008
On Contemporary Cultural Identity and Global Culture
In the present world, where boundaries are shifting and cultures are merging in an increasingly palpable manner, fixed notions of cultural identity are morphing into more fluid perceptions. In my paintings and sculptures, I intend to pierce through the concept of different cultures as isolated blocks and highlight a more hybrid reality.
Exhibition : 10 November - 9 December 2007
Wednesday, February 20, 2008
Passing By, Kanitsapon Amonsin, at Art Gorillas Gallery, until July 15
Bangkok – The 24 year old artist, Kanitsapon Amonsin, is a fresh, young talent, who has recently arrived on the Bangkok art scene. He just graduated from Silpakorn University and the exhibition currently showing at ArtGorillas, Passing By, is his first solo exhibition. On display are some 30 paintings on diverse medium such as wooden panel, rubber tiles and galvanized iron. They explore the plurality of architectural expressions found in Thai urban areas, often juxtaposing the stylistic language of Thai heritage found in municipal structures and the modern features of the contemporary city. The detailed observations of facades and other aspects of a building that imbue it with a certain character, convey the artist's passion for the forms and colors of the architectural landscape. The paintings are composed of warm tones and the materials used allow Kanitsapon to capture the weather-worn texture of longstanding houses. These features impart onto the pieces a feeling of nostalgia and agedness that makes them feel less like representations of the buildings, but more like parts of the buildings themselves. However, the application of colours and the chosen perspectives, give them an air of freshness that radiates immediacy and a quiet vibrancy.
The gallery is exhibiting ten large pieces and many more smaller-sized works. The large paintings are hung relatively low, inviting close inspection by engulfing the viewer's attention. The alluring charisma of these pieces is achieved in this spatial intimacy with the viewer. It is their tangibility, their richness of detail, texture and colour, which are ultimately captivating and which relate them not only in imagery to their subject, but also in substance.
Many of the pieces depict the quintessential urban animal, the pigeon, resting either solitary or in groups upon the mesh of electrical cables. This familiar sight appears to overflow from the confines of the frame into the space of the gallery itself. Cables traverse the room and styrofoam pigeons sit on top, overlooking the visitors. Several paintings in fact incorporate three-dimensional elements, such as genuine wooden shutters attached to painted two-dimensional windows. On some of the rubber tiled compositions, Kanitsapon has used a heated rod to create a plethora of electrical lines that sometimes crowd the view of houses in the capital's older districts. The deep grooves and thick coating of oil colours provide the paintings with a sumptuous texture that makes you want to touch them. They have a similar appeal to the buildings they portray, an enticing physicality and an ineffable character.
Kanitsapon had started on these pieces during his studies at Silpakorn and the exhibition represents the accumulation of three years of the artist’s work. The paintings reflect his efforts and demonstrate a surprising level of artistic maturity, given that this is his first solo exhibition. The subtlety of his work transgresses distinctions between traditional and modern, just like the architectural topography of contemporary Bangkok, and appeals to the viewer in terms of its aesthetic merit alone.
Kanitsapon Amonsin's exhibition, Passing By, will be displayed at Art Gorillas Gallery, Bangkok, until July 15th.
Article by Andreas Klempin. Andreas is half-German, half-Thai and a student of philosophy. He moved back to Bangkok from London in 2006 and has been eagerly exploring the local art scene ever since.
Sunday, February 17, 2008
A collaboration between Thailand Creative & Design Center and the Victoria & Albert Museum, the "Vivienne Westwood" exhibition reflects the evolution of her designs - from the outrageous punk rock style of the '70s, to the "neo-romantic" designs inspired by classical costume during the '80s, and then the one-of-a-kind elegant style since the '90s to the present day, which has earned her world acclaim.
Her designs combine a fearless unconformity with a sense of tradition. She is renowned for her gentle parody of Establishment styles, her use of very British frabrics such as Harris tweed and tartan, her re-use of historic garments such as the corset and crinnoline. Yet, her approach has always been practical, driven by a curiosity about how things work, a process she describes as "learning through action"
Westwood's inventiveness is revealed in over 150 exhibits. largely taken from her personal archive and the V&A's collections It spans the extremes of fashion, from the streets of London to the Parisian catwalks, and her own evaolution from subversive shop owner of fashion doyenne.
Thursday, February 14, 2008
12 Different Artist joined hand-in-hands in their own unique ways to have something in common called "ART". They handcuffed their techniques and styles expressed it on the same piece of canvas
"Love Lost in Lamentation", Thavorn Phansa's 1st solo exhibition, features an array of works linked by the investigation of emotional relationship of the artist. These large paintings filled with symbolic forms and color, blended into a wealth of smooth, vivid detail. "Love Lost in Lamentation is a series of paintings which are the result of my feeling and experience from my past unsuccessful relationship. These paintings unveil the effect of my bittersweet sorrow, my attitude, and my expectation toward love and relationship through various symbols of space and time. Nevertheless, I still believe that love is one of the most graceful desire on earth."
Thavorn Phansa Exhibition Duration: July 16th - August 115th,2007 http://www.myspace.com/artgorillas ArtGorillas ArtGallery260 2nd Floor Lido Multiplex Siam Square Soi 3 E-mail : email@example.comWeb : http://www.myspace.com/artgorillas
Wednesday, February 13, 2008
by narissara pianwimungsa
playgallery, playground store
April 6 - may 5, 2007
The ego undressed
Published on Jul 1, 2007
You art what you wear? Narissara Pianwimungsa borrowed some clothes and found that it's not so
Narissara Pianwimungsa spent two months last year dressed up in other people's clothes. Hardly destitute, she was on the contrary enriching her identity in the eyes of others and herself. Now Narissara is documenting the experience in a collection of haunting oil paintings on view at the Bangkok boutique mall Playground.
Her exhibition "Reflex", continuing through Saturday, is an exploration of the sense of isolation that she feels - and exploits to good effect in her work.
"One day a friend said she'd seen a T-shirt that would really suit me," says Narissara, whose usual garb is a T-shirt and blue jeans.
"It got me wondering whether someone's personality can be seen through the kind of clothes they wear. So I was inspired to borrow some clothes from acquaintances who have different personalities and dress styles than I do.
"I believe their personalities were at least reflected in the articles of clothing they gave me. Most of them selected something in neutral tones. Some of the items were either too small or too big.
"But it struck me how every time I looked in the mirror I felt strange - insecure. I may have been clinging to my own ego."
During those two months, Narissara - a Silpakorn University graduate who is currently the art director for a women's magazine - deliberately got away from everyone who had preconceptions about her by attending an art workshop in the US.
"I don't think anyone there sensed what was going on, but I felt awkward and unconfident. Clothes and emotions go together - we feel secure when we're wearing our own clothes and they fit the situation we're in," says Narissara, 31.
Her distinctive figurative paintings in intense hues - leaden greys, nocturnal blues, deep red - first caught the public eye when Yuthlert Sippapak used some in his 2003 movie "February", believing their dark mystery added to its dark tone.
In the works on view at Playground, only Narissara's eyes are revealed behind layers of clothing, but they are fiercely staring eyes that refuse to be concealed.
"Clothes should be a protective covering, but in fact the wearer doesn't feel confident," she says. "Looking at my paintings I feel that I look so sad."
As in her pervious collection, the new pieces have an aura of loneliness and isolation, and they too are memorable for their startling, dreamlike quality.
"I always feel alienated when I'm surrounded by people. We have more freedom in today's world, but at the same time we are increasingly interested in creating our own private, personalised environments, while shutting out the rest of humanity.
"But the sorrow I feel doesn't leave me downhearted. I don't think my isolation and loneliness are any more intense than what other people feel. I use these emotions to make a point in my work. Painting to me is joyous, even when the subject is not."
Growing up with two younger brothers, Narissara always lived in her own little bubble, with her own clothes and toys.
"In some families, sisters have to share clothes, but I'm an only daughter so I didn't have that experience, and that's why I felt uneasy dressing in other people's clothes."
Narissara's early paintings were distorted self-portraits. She moved on to the top halves of figures, then full figures with some parts twisted or omitted.
"I used to paint two versions of my face in a single painting, one dreamlike and one realistic. They were talking to each other, with the dream face revealing ideas that the real-world face wouldn't have dared consider."
While dark tones dominate her work, Narissara employed pastels in last year's show "Strange Love".
"Pure love may exist, I know," she says, "but at the time I wanted to project a view of love as something hidden. Sometimes we want somebody to make us stronger.
"Right now I'm interested in the relationship between clothing and emotions. For my next collection I may work outside the frame. It doesn't mean that I'm getting bored with painting, but a medium should follow ideas."
Playground, on Soi Thong Lor (Sukhumvit 55), is open daily from 10am to 11pm. Call (02) 714 7888.
From : Khetsirin Pholdhampalit
Bangkok University Gallery, Rangsit Campus
5 November - 3 December 2005
Music from an Unknown Source brings together a series of 40 gouaches by Sigmar Polke, from 1996. Since the early 1960s, Polke has been concerned with the relationship between the reality as contained in a picture and reality itself, the relation between art and daily life. In the gouaches of this exhibition, Polke makes the dripping and flowing of paint his theme, contrasting the unpredictable flow of paint with an overlaid regular and predictable screen system. These pictures give a significant insight into Polke’s artistic oeuvre and belong among the most significant of the German postwar era. An exhibition of the Institut Für Auslandsbeziehungen/IFA and the Goethe Institut.
Monday, February 11, 2008
“Yayoi Kusama Ka!”, the first ever exhibition in Thailand by internationally renowned Japanese artist Yayoi Kusama. Recognised for her deep penetrating stare, avant-garde Kusama is regarded by many today as Japan’s greatest living artist. With an incredible and influential career that spans some six decades, since early childhood Kusuma has been affected by mental illness, which has helped fuel her hallucinogenic repetitious dot and net filled paintings and sculptures. She moved to America from 1957-73, where she became a pioneer of large, soft sculptural installations and environmental sculptures, as well as staging radical happenings and anti-war demos. For 100 Tonson, enigmatic Kusuma will transform the entire gallery interior with a re-visitation of her 2000 floating rainbow dot and large balloon installation Dots Obsession New Century. The forecourt area of 100 Tonson will also display Dots Obsession, a unique custom decorated car designed by Yayoi Kusuma. The vibrant yellow and black polka dot covered exterior was one of five customised commissions by leading Japanese artists, which were recently auctioned for charity at Tokyo’s Mori Art Museum. This is the first time this one-of-a-kind artwork be presented in an art exhibition. A permanent exhibit at 100 Tonson that will seldom be seen on Bangkok’s streets, the swirling biomorphic patterned design flies across the surface of the car exuding a pulsating energy. In conjunction with the exhibition at Tonson, the gallery has organised a display of Kusama’s original prints at Play Gallery upstairs at new design mall Playground on Soi Tonglor. The prints on view are selected from the 1980s to the present. At 76 years of age, Yayoi Kusuma has created an immense body of work that has been seen all over the globe, including the first ever solo show by a painter at the Japanese pavilion of the 1993 Venice Biennale, retrospectives at MoMA in New York and the Museum of Contemporary Art in Tokyo, and the recent exhibition Kusamatrix at Mori Art Museum. A contemporary art icon since the 1960s, Kusama is also a successful filmmaker and author. Today she voluntarily resides in a Japanese mental institution, from where she continues to produce her obsessive idiosyncratic visions.
DNA by Imhathai Suwatthanasilp
D : Devote N : Nostalgia A : Adore
I created this work of art by using my own hair. I have an idea about the hair that fall down. Our hair is a part of the body which is constantly being renewed. I tied my hair one by one to be the line and then worked with it as you would crochet wool.
The lost girl, an art exhibition by Tanasarn Kanakasem will be held at a new place for Art, "ON ART" at Samsean street.
After Tanasarn has resign from hos job and decided to become a full time artist, the lost girl is his first exhibition. Many strange eye expressions of girl with the dreamy foggy background just like being in a fantasy world are the environment scattered in the exhibition. The eternity that came with emptiness is the world made up to his audience by the artist, where the girl seems so disobey, but still altered to the environment. Also, there are more in each paintings of symbolic sign such as, ballons, teddy bear and many other pretty little things, which might doubted the audience, "What is these sign refers to?"
Sunday, February 10, 2008
Where u can wish for anything.