Magazine Nicky's Vision Of The World by iNikkkki

‘s

Nicky

Vision of the world

New york art Annie Leibovitz Nicky’s Portfolio corporate identity Vans

I put my heart an into my work, an my mind in the p

nd my soul nd have lost process. INTERVIEW WITH ME

ANNIE LEIBOVITZ INSPIRATION

NICKYâ&#x20AC;&#x2122;S PORTFOLIO

VANS IDENTITY

3D OBJECT

04 06 12 18 20

THE ART FROM NEW YORK

TIPS FOR PHOTOGRAPHY

JEEP COMPAIGN UPSIDE DOWN

SALLY MANN INSPIRATION SHEPARD FAIREY INSPIRATION

22 28 34 36 38 3

â&#x20AC;&#x153; Hell

lo,Nicky my name is Brink” Hi, Nicky how are you?

Hello Anne, I’m great. Just really happy with how my life is going on this moment. My surname change was a amazing moment in my life and my life in the student room in Zwolle is going so well.

You’re doing the Design & Media education on the Cibap College, what do you think of that education? I think Design and Media is an amazing education. I can expres my own thoughts and design in my school projects. The learning process is really big but that’s only good. They want to see the whole progress. From the thinking and doodling progress till the ending product. I know what to do and what they want to see, when I start a project which is really good, because I am not standing for big suprises.

Which class do you like the most?

What are your dreams?

The art class, which they call OEV. I can make my own things in that class and while being in that class it makes you forget the rest of the world and what’s going on in the project. You can also try a lot in the art class with paint and other products. Our teacher helps with the try outs or when you need help with whatever you’re making. In one sentence : You have a lot of freedom and opportunities to try and to make you own creations.

My biggest dream already became real. That dream was to visite New York which I did in May 2015 with my aunt.

Where do you see yourself in 7 years?

Family and friends make me the happiest. Visiting my family or going to places with them is something I do a lot.

In about 7 years I have passed my Cibap and HBO education which I will hopefully do at ArtEZ Arnhem, because there’s a graphic design education with a focus on the English language. After all the passed educations, I hope that I will live and work in England because I like the English Language to much. It’s so much better that the Dutch language which sounds so unclassy and flat. I won’t have to live to big just a average appartment is enough for me. Even living in London won’t be it for me. I will be happy in a place like Manchester of Liverpool. Which are a little less busy.

If I look at other dreams, then they are really focused on the future. I dream about living in England and about being happy. Which is really importend for me, to be and to stay a happy girl.

What makes you happy?

Going to festivals, having sleepovers or going to parties with friends is something I also enjoy alot.

What makes you special? What makes me special is that I am staying myself. Even when people are trying to change me. You will probably see me mostly with dresses on and skirts those make me comfortble a lot. Interview by : Anne Riemens

Besides living in England, I hope I will work at a big media company because I would like to work with a group designers and when it’s needed do projects alone. Maybe as a hobby I would like to have a little studio to make portraits and some event photography.

ANNIE LEIBOVITZ ON GETTING THE SHOT

ANd the future of photography

As one of the world’s most renowned photographers, Annie Leibovitz’s work is instantly recognizable and those lucky enough to be her subjects are elevated to the realm of fantasy. Her most fantastical work to date, the ongoing "Dream Portraits" campaign for Disney Parks that casts Hollywood A-Listers as fabled characters was the subject of a recent talk that brought the legendary photographer to the Cannes Lions International Festival of Creativity recently. The work, she said, was emblematic of what happens when an agency and a brand allow an artist the freedom to ply her craft. Aside from unpacking the process of how that campaign created by agency Mcgarrybowen and featuring David Beckham as Prince Charming, Scarlett Johansson as Cinderella, Russell Brand as Captain Hook and Angelina Jolie as the evil queen Maleficent came to life, Leibovitz also took some time to answer questions about her work as a whole.

ON THE FUTURE

of photography

I think photography is stronger and better than ever before. Those of us who are photographers, the difference between us and everyone else is that we take what we do very seriously. There was a wonderful article in the New Republic that said photography came along long before there were cameras. We were always trying to capture the fleeting image. Photography came along long before we had the

equipment. What is going to happen now is that we are the sensitive matter. You, the photographer, are the sensitive matter. What makes an impression on you is what will been seen. In this day and age of things moving so, so fast, we still long for things to stop, and we as a society love the still image. Every time there is some terrible or great moment, we remember the stills.

ON THE ART VS. SCIENCE OF

BEING A PHOTOGRAPHER

I don’t think of myself as a very good technical photographer. I’m so sensitive. I’m very careful about who I let around me when I work because I feel everything that’s going on. I’m still learning about digital, the way we all are. In fact, some of the early work in the Disney campaign, I want to go back and redo now that the technology is better. Or maybe my eye is better. If there’s any secret to the sauce here in terms of the art part of it, I think

early on I just did what I wanted to do, and I have to make sure that I’m working with people who will let me do that. If that can happen, I think it works out. There are not too many people who will work with you like that.

ON THE LINE BETWEEN

PHOTOJOURNALISM AND ART

I personally made a decision many years ago that I wanted to crawl into portraiture because it had a lot oflatitude. I realized I couldn’t be a journalist because I like to take a side, to have an opinion and a point a view; I liked to step across the imaginary boundary of the objective view that the journalist is supposed to have and be involved. It doesn’t

mean we don’t need photojournalism. I think what happened to me is that I started to set up the covers of Rolling Stone magazine and I began to see more things set up and I saw there was a power in that. After that, I couldn’t go back to just journalism. But I still love the photo on the front page of the New York Times. It’s very, very important to me. I love to

see how they use it, I love to see how they edit it. Those who want to be serious photographers, you’re really going to have to edit your work. You’re going to have to understand what you’re doing. You’re going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.

ON GETTING

THE SHOT

I find that the attention span of subjects is not that long. I think sessions should be short, only a few minutes. I believe that a session should be shorter and I do a lot of work up front, so a subject can come in quickly and be done. Maybe five times a year you find someone you wish you could spend more time with. But the idea that you’re going to get the soul of the sitter in 15 minutes is garbage. Not for what we’re doing for magazines. I do find, and this is something I haven’t really capitalized on, that as soon as I tell them

it’s over, they relax and look amazing. I should be starting the shoot then! If there’s another secret that I have, it’s that I’m not afraid to go back. I know that everyone thinks you can’t go back, but you can. You just say, You know, this is great but I have this other idea. I don’t know how many times you go to take a picture in a session and, as you’re leaving it, you think of what you should have done, what you wish you’d done, or you have a better idea. Sometimes if I believe strongly, I’ll go back.

ON THE

CREATIVE PROCESS

I actually did a small book called At Work, because I get asked so many questions about how I do what I do and I just thought it might help. In the back of the book are the 10 most asked questions. I wish there was a secret but it’s just hard work. Everyone is so surprised to hear that I do so much research. On the Disney project, on Cinderella, I didn’t just look at animated Cinderella or the Disney stories; I went back and looked at Grimm and all the versions of the story. It’s probably the most ranslated fairy tale with so many different versions

that feed into it. Then, of course, I did veer back toward Disney because he certainly had this point of view. I did research on Walt Disney. I was enamored with his genius. I prefer order, but it’s most chaotic.

ÂŠ Kirsten Heskamp / Nicky Brink

WHY ANNIE IS

MY INSPIRATION Annie Leibovitz is my inspiration because of her special way of photographing. She makes real life people and a fairytale world possible. Which is a very creative way of fantasy. I tried to use it in the photographic class with the head photo assignment. I tried to make it Icy, so that it will look like some ice queen. This picture

is made by Kirsten Heskamp in one of the studios in our school. I photoshopped it with brightening my eyes, changing my hair greyish and I added the fog so it while look mysteriously. The whole time of making it, I had the pictures from Annie in my head. I think it worked brilliantly, it became how I wanted it to become.

Source: http://www.fastcocreate.com/ Writer: Rea Ann Fera / Nicky Brink Photography: Annie Leibovitz

PORTFOLIO FROM

Nicky BrINK

You can design and create WHAT YOU FEEL AND LIKE

GOUD

is fout

This was my one of my assignments on my first internship at a graphic design workplace called â&#x20AC;&#x2DC;I Need Itâ&#x20AC;&#x2122;, which I did on my very own. They gave me the opportunity to make what I had in my head. The client only gave me a paper with the information and I had to design

a poster, a ticket and Facebook banner for a new years party. This is what it became and they used it also. Writer: Nicky Brink Photography: Nicky Brink / I Need it

School assignments - Beeldbuis festival - Converse

Design proces own logo

All on this page ÂŠ Nicky Brink

VANS

Logo

The logo for Vans is very simple. It is the word Vans with the end of the V going over the rest of the letter. This is a very clean cut logo. When think of Vans, one major part you think about is skateboarding. The V going across the rest of the letters makes is look like a skate ramp. Slogan: According to Steve Van Doren the slogan “Off The Wall” came about because “Off the wall

was a saying that the skaters back in the mid 70s used to say when riding pools. They were coming Off The Wall! So Vans’ first official skateboarding shoe was on March 18th 1976 and had the Off the Wall newly created logo on it. Since then, all vulcanized sketches carried the red and white logo on the heel of our shoe. The skaters were allowed to customize their shoes in any

color. We then put the Off the Wall Logo on all the crazy wild colored shoes as they were developed (such as the slip ons) and eventually the checkerboard shoes that came after Fast Times at Ridgemont High cam out in 1982. Vans was a little bit different and edgy and Off the Wall stuck as a corporate logo”.

involved with skateboarding. When doing these safety shows the shoes wore were always Vans to show how safe the shoes were for skating(The cult company branding).

area. The park was designed to bring everyone form beginners to professionals. Neal Lyons, senior vice president of Vans, said the skate park is envisioned as a magnet for families. Making skateparks like this one is bringing skateboarding to levels like NHL and other sport that are involved in many communities.

GIVING

BAck

Vans has been giving back to the community from the start of the company. When Vans really started advertising for skateboarders, the company decided to gather a team of skateboarders that traveled around the schools in Southern California. This group put on safety shows about skateboarding. The safety shows were for parents, moms especially, that were concerned about the safety risks

In 1998, Vans put in the first of many skate parks. The skate park was located at the Ontario Mills shopping center. The skate park coasted around $165-million and was a 46,000 square foot

VANS

Warped Tour

The Vans Warped Tour travels all summer throughout the United States and Canada. More recently, the Warped Tour also have a circuit in the United Kingdom. The Warped has as many as a hundred bands playing in a days time. wThere are seven stages including a stage where local bands will play if winning battle of the bands. Vans became involved in the Warped Tour in 2001. According to Van Doren Jr, “... But both boys and girls like music, so we tied ourselves into a punk rock scene cause a lot of the guys that were in bands would wear Vans”.

STORE

Fronts

The store has a very clean and modern look to it. Everything comes together in very perfect lines. The store always has the big shoe in the store that shows the signature style of the bottom of Vans shoes. This holds all the shoes that are on sale.

In 2005, the Warped Tour gains a crowd of 680,000 punk fans. At this same time, this became America’s longest concert serious.

Source: http://vansidentity.weebly.com/ Writer: Nicky Brink Photography: Vans Ic.

The city t The a

Â© Nicky Brink

that never sleeps, New York art around the streets from the big city

New York, the largest city in the U.S. is an architectural marvel with plenty of historic monuments, magnificent buildings and countless dazzling skyscrapers. With almost 20 milion people in the whole state, itâ&#x20AC;&#x2122;s a big multifunctional place.

visitors. The city is home to numerous museums, parks, trendy neighborhoods and shopping streets. But in those streets you will find a lot of art and not only you have the street art, graffiti and the statues. There are also alot of art museums.

Five of them are Museum of the Arts, Queens Museum of Art, MoMA, Solomon R. Guggenheim Museum and Metropolitan Museum of Art.

METROPOLITAN

MUSEUM OF

MUSEUM

Occupying two million square feet, with a permanent collection of over two million works of art, the Metropolitan Museum of Art is one of the largest art galleries in the world. This famous fine arts museum in NYC boasts works from classical antiquity, Ancient Egypt, Asia, Byzantium, and Europe, with nearly all of the European masters represented.

Visit one of the worldâ&#x20AC;&#x2122;s most famous art museums at the Museum of Modern Art in Manhattan. This beautiful NY museum features the most prestigious art collection in the country, with works from such famous artists like Jackson Pollock, Vincent Van Gogh and Pablo Picasso.

Take in one of the best modern contemporary art collections in NYC at the Bronx Museum of the Arts on the Grand Concourse. Featuring the work of prominent global artists, as well as talented young artists from around NYC, the Bronx Museum of the Arts is a small, interactive NYC museum.

Besides the architectural delights, New York is an urban jungle that has everything to offer to

Museum of Art

MODERN ART

of the Arts

SOLOMON R.

QUEENS

As the final project of legendary American architect Frank Lloyd Wright, the Solomon R. Guggenheim Museum is one of the most iconic museums in the world. Housed within the museum are 300 representative works culled from the Guggenheim Foundation’s 7,000-piece collection, including works by Picasso, Monet, and van Gogh. This must-see museum on 5th Avenue in New York is truly oneof-a-kind.

The Queens Museum of Art is located in the historic New York City Building, the only major structure remaining from the 1939 World’s Fair. Visitors will enjoy viewing the museum’s permanent collection of nearly 10,000 items, 6,000 of which are documents and objects related to the 1939 and 1964 World’s Fairs. The museum also houses the Neustadt Collection of Tiffany glass, which features windows, lamps, and related objects made by the Tiffany Studios.

Guggenheim Museum

Museum of Art

NEW YORK ART

Character

“In the wake of the global growth of interest in art in the streets, one form of tourism that may soon be blowing up could be graffiti excursions, street art sightseeing and mural journeying,” Brooklyn Street Art’s Jaime Rojo and Steven Harrington recently declared. If you are one of the many street art and graffiti enthusiasts who couldn’t imagine a vacation sweeter than

galavanting around alleyways and empty buildings, searching for that great piece of urban art, we have the perfect map for you. We’ve compiled a list of our favorite street art masterpieces in New York City thanks in large part to BSA’s experts Rojo and Harrington, who walked us through some of their favorite locales to ogle wheatepastes and aerosol designs, from the Bronx to Coney Island.

NEW YORK ART

Character

New York has long been an incubator for cutting-edge artistic expression, a showcase for important art forms and a home for dynamic creativecompanies. But despite New York’s longstanding status as a global center for creative activity, the alchemy that allows the city’s creative economy to thrive is still largely a mystery. The breadth and quality of New

York’s talent pool are the essential building blocks for the city’s creative economy. New York’s creative workers are the originators, producers and presenters of the vast amount of content that fuels this sector. They are the artists, performers, sound technicians, designers and many others whose ideas and unique skills give form to the culturallife of New York City.

NEW YORK ART

Character

“There’s a raw character to NYC that is unique,” Litvin said to Business Insider. “After all, it is the mecca of graffiti and street art and has an interesting and troubling history.” In fact, New York City is the birthplace of the graffiti “writing” movement of the 1960s, which evolved into the image-driven street art we see today.

Source:http://uk.businessinsider.com/ Writer: Raisa Bruner / Nicky Brink Photography: Nicky Brink

Â© Nicky Brink

Top IO Tips

for Great Pictures

â&#x20AC;&#x153;Do you wish you were a better photographer? All it takes is a little knowhow and experience. Keep reading for some important picture-taking tips. Then grab your camera and start shooting your way to great pictures.â&#x20AC;? 29

LOOK YOUR SUBJECT

USE A PLAIN

Direct eye contact can be as engaging in a picture as it is in real life. When taking a picture of someone, hold the camera at the personâ&#x20AC;&#x2122;s eye level to unleash the power of those magnetic gazes and mesmerizing smiles. For children, that means stooping to their level. And your subject need not always stare at the camera. All by itself that eye level angle will create a personal and inviting feeling that pulls you into the picture.

A plain background shows off the subject you are photographing. When you look through the camera viewfinder, force yourself to study the area surrounding your subject. Make sure no poles grow from the head of your favorite niece and that no cars seem to dangle from her ears.

Right in the eye

background

USE FLASH

outdoors

Bright sun can create unattractive deep facial shadows. Eliminate the shadows by using your flash to lighten the face. When taking people pictures on sunny days, turn your flash on. You may have a choice of fill-flash mode or full-flash

mode. If the person is within five feet, use the fill-flash mode; beyond five feet, the full-power mode may be required. With a digital camera, use the picture display panel to review the results.

ÂŠ Nicky Brink

MOVE IN

If your subject is smaller than a car, take a step or two closer before taking the picture and zoom in on your subject. Your goal is to fill the picture area with the subject you are photographing. Up close you can reveal telling details, like a sprinkle of freckles or an arched eyebrow. But don’t get too close or your

pictures will be blurry. The closest focusing distance for most cameras is about three feet, or about one step away from your camera. If you get closer than the closest focusing distance of your camera (see your manual to be sure), your pictures will be blurry.

LOCK

THE focus

If your subject is not in the center of the picture, you need to lock the focus to create a sharp picture. Most auto-focus cameras focus on whatever is in the center of the picture. But to improve pictures, you will often want to move the subject away from the center of the picture. If you

don’t want a blurred picture, you’ll need to first lock the focus with the subject in the middle and then recompose the picture so the subject is away from the middle. Usually you can lock the focus in three steps. First, center the subject

and press and hold the shutter button halfway down. Second, reposition your camera (while still holding the shutter button) so the subject is away from the center. And third, finish by pressing the shutter button all the way down to take the picture.

KNOW YOUR

flash’s range

The number one flash mistake is taking pictures beyond the flash’s range. Why is this a mistake? Because pictures taken beyond the maximum flash range will be too dark. For many cameras, the maximum flash range is less than fifteen feet—about five steps away.

What is your camera’s flash range? Look it up in your camera manual. Can’t find it? Then don’t take a chance. Position yourself so subjects are no farther than ten feet away. Film users can extend the flash range by using Kodak Max versatility or versatility plus film.

WATCH

LIGHT HAS COLOR EVEN

Next to the subject, the most important part of every picture is the light. It affects the appearance of everything you photograph. On a great-grandmother, bright sunlight from the side can enhance wrinkles. But the soft light of a cloudy day can subdue those same wrinkles.

Is your camera vertically challenged? It is if you never turn it sideways to take a vertical picture. All sorts of things look better in a vertical picture. From a lighthouse near a cliff to the Eiffel Tower to your four-year-old niece jumping in a puddle. So next time out, make a conscious effort to turn your camera sideways and take some vertical pictures.

the light

Don’t like the light on your subject? Then move yourself or your subject. For landscapes, try to take pictures early or late in the day when the light is orangish and rakes across the land.

vertical pictures

BE A

MOVE IT FROM

Take control of your picture-taking and watch your pictures dramatically improve. Become a picture director, not just a passive picture-taker. A picture director takes charge. A picture director picks the location: “Everybody go outside to the backyard.” A picture director adds props: “Girls, put on your pink sunglasses.” A picture director arranges people: “Now move in close, and lean toward the camera.”

Center-stage is a great place for a performer to be. However, the middle of your picture is not the best place for your subject. Bring your picture to life by simply moving your subject away from the middle of your picture. Start by playing tick-tack-toe with subject position. Imagine a ticktack-toe grid in your viewfinder. Now place your important subject at one of the intersections of lines.

the middle

Picture director

TAKE SOME

You’ll need to lock the focus if you have an auto-focus camera because most of them focus on whatever is in the center of the viewfinder.

highly diffused lighting

Is your camera vertically challenged? It is if you never turn it sideways to take a vertical picture. All sorts of things look better in a vertical picture. From a lighthouse near a cliff to the Eiffel Tower to your fouryear-old niece jumping in a puddle. So next time out, make a conscious effort to turn your camera sideways and take some vertical pictures.

Source: Kodak Writer: Kodak / Nicky Brink Photography: Nicky Brink

JEEP’S CLEVER AD

Campaign Works Just As Well UPSIDE DOWN Leo Burnett, a prestigious international ad agency, created a brilliant 3-image optical illusion ad campaign for Jeep in France with the motto “See whatever you want to see” that merited a gold award for press at Cannes Lions.

At first, the 3 images in this ad campaign might look like nothing special just dark animal images on a burlap background. You have to flip them over, however, to truly appreciate the agency’s artwork. Each image can be viewed as a different animal depending on which direction you view it from, and these two coexist without interfering with each other. The agency explains that the ad..

“invites the reader to return to the announcement to discover an animal at the other end of the world. A nice invitation to travel.“

Source: http://www.boredpanda.com/ Writer: Dovas / Nicky Brink Photography: Leo Burnett

Source: Wikipedia Writer: Wikipedia / Nicky Brink Photography: Sally Mann

“ I like her connection with the models, I like the mysterious atmosphere’s and the creative hints in the picturs. It makes me want to take my camera and try to do this by my own” - Nicky Brink

SALLY MANN’S UNIQUE LANDSCAPES

AND MYSTERIOUS PORTRAIDS

Sally Mann is an American photographer known for her intimate black-and-white portraits of her family and for her documentation of the landscape of the American South. Her images appear antique due to her interest in early photographic technology; Mann employs an 8 x 10 bellows camera to achieve this effect, in addition to experimenting

with printing processes that include platinum and bromide. Similarly to David Hamilton, Mann has caused controversy with her nude photographs. Her young children appeared unclothed in her series Immediate Family (1984–1994), causing repeated outcries and calls for censorship. Born Sally Turner Munger on May 1, 1951 in Lexington, VA, Mann currently lives and

works in her birthplace. She has explored themes of mortality, sexuality, and the personal made public throughout her career, like her contemporary Nan Goldin. Her work can be found in the collections of the Metropolitan Museum of Art, The Museum of Modern Art, and the Whitney Museum of American Art.

SHEPARD FAIREY ‘S OBAMA POSTER

ANd MY USE FROM THAT POSTER

ABOUT

Shepard Fairey

Shepard Fairey is a streetart artist and a graphic designer from America. He became widely known during the 2008 U.S. presidential election for his Barack Obama "Hope" poster. The Institute of Contemporary Art, Boston calls him one of today's best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London.

WHY FAIREY IS

MY INSPIRATION

In my progress in my fourth school semester I used his work for my self-portrait. I wanted a pop art kind of feeling in it while I only used three colors. I used she basic colors black and white. Whit those colors I added one of my favorite colors deep-sea kind of blue. Those three make a great contrast, that’s why I choose them. The three colors and pop art gives it a little bit of “Fairey” in it, I only made it my own.

WHAT I LIKE ABOUT

Shepard Fairey

is his use of three colors in is Barack Obama "Hope" poster. The Barack Obama "Hope" poster is an image of Barack Obama designed by artist Shepard Fairey, which was widely described as iconic and came to represent his 2008 presidential campaign. It consists of a stylized stencil portrait of Obama in solid red, beige and (light and dark) blue, with the word "progress", "hope" or "change" below. He used these colors because they are the colors from Democratic blue to Republican red.

Source: Wikipedia Writer: Nicky Brink Photography: Shepard Fairey Illustrations: Shepard Fairey / Nicky Brink