B.W.M.F. CREATIVE METHODOLOGY
[PART ONE] P.006 —P.111 »BE WATER MY FRIEND« DEEP DIVE
[ROOTS]
B.W.M.F. [CREATIVE METHODOLOGY& GRAPHIC JOURNEY]
»BE WATER MY FRIEND« BY RAFAEL BERNARDO
B.W.M.F. GRAPHIC JOURNEY
[PART TWO] P.114 —P.222 »BE WATER MY FRIEND« WAVE SURF
[WINGS]
RAFAEL BERNARDO
hi, my name is rafael bernardo. i am a designer, creative activist and now author of the publication »be water my friend«. a book documenting a sideproject i started in 2017. inspired by an interview with bruce lee, where he refers to an aspect of taoist philosophy, that water can teach us »the way«, i started to wonder whether i was water in my creative workflow. now, five years later, i designed a book with 224 pages, which is divided 50/50 into the parts »roots« and »wings«. »wings« presents the graphic journey. personal projects and collaborative works i did for example with viva con agua, the forward festival or the porcelain factory rosenthal. and then, there is a selection of eighty »be water my friend« posters, created to practice and explore my visual voice. clear compositions in black and white within a spectrum of typography, illustration and infographics. part two, »roots«, outlines the theoretic foundation of my experience. the introduction of the »be water my friend« methodology, an analytic system i developed after i found out that water behaves like creativity works. it describes the progress of development as a clockwork, divided into three levels. context in the outside, motivation in the centre and process as the connecting part in between. it is a tool to connect the way we think with the way we feel by examining how we shape and navigate our processes, projects and routines. i believe that everybody experiences creativity in a different way but that its structures and functionalities work similar for all of us. the first question always is whether you know what you want, if you love doing it and if you are good at it. the second question is whether you know to find the little hidden mistakes, that keep you back from getting better. this book wants to inspire creative performers to see mindset and intuition as team-players and shows how to connect and tune them to each other. how to reflect on time, dreams and potentials. since water runs in cycles and nomen est omen, we printed the book on three different kinds of 100% recycled paper, used water-based colours and chose a printer that compensates for its carbon footprint. the format is 16x24 cm, the spot color is 032U, all fonts in the layout except from one that i made are designed by newglyph and the publisher is slanted publishers. i want to thank everybody who made this publication possible and everybody supporting this project. get your copy, spread the word. thank you and be water my friends.
WWW.RAFAEL-BERNARDO.COM
NOW WATER CAN FLOW OR IT CAN CRASH
[TRAILER] THE »BE WATER MY FRIEND« BOOK
BE WATER MY FRIEND
[INTRO 1/2]
A.K.A. B.W.M.F.
THE CREATIVE METHODOLOGY AND GRAPHIC JOURNEY »BE WATER MY FRIEND« BY RAFAEL BERNARDO
welcome [ BWMF.BOOK] ROOTS AND WINGS
this book celebrates the »be water my friend« [b.w.m.f.] journey of designer, creative activist and now author rafael bernardo. a journey initiated by the wish to reinvent his creative identity and the dream of a system that describes structures and functionalities of creative workflows. why? because it is one thing to do what you love and to be good at it. the other is to know how to work on your creative performance as to get better. this book presents bwmf.artworks created for practice, joy and support between the years 2017 & 2021 and the bwmf.methodology , a toolbox designed to turn mindset and intuition into team-players and to carve the way for teams and individuals to »be water my friend«. [WINGS]
[ROOTS]
[ROOTS]
[PART ONE] P.006 — P.111 »BE WATER MY FRIEND« DEEP DIVE B.W.M.F. CREATIVE METHODOLOGY
[WINGS]
[PART TWO] P.114 — P.222 »BE WATER MY FRIEND« WAVE SURF B.W.M.F. GRAPHIC JOURNEY
IN THE BEGINNING I HAD THREE STATEMENTS BESIDES »BE WATER MY FRIEND« TO EXPRESS MY MOTIVATION TO GET BETTER AT CREATING THE THINGS I LOVE WORK HARD, PLAY HARD . CHANGE HAPPENS FOR A REASON . THE TIME IS NOW .
[WATER MEETS CREATIVITY] SINCE CREATIVITY TRANSFORMS IDEAS THAT ARE AIRY AS CLOUDS INTO WARM SUMMER - RAINS OR THUNDEROUS LIGHTNINGS, I STARTED TO WONDER WHETHER WATER AND ITS TRANSFORMATIVE CYCLE HAD MORE SECRETS ABOUT THE WAY MY CREATIVITY WORKS, I COULD REVEAL.
1
BE WATER …
now, you put water into a cup, it becomes the cup. you put water into a bottle, it becomes the bottle. you put it in a teapot, it becomes the teapot. now, water can flow or it can crash. be water, my friend.«
IT REALLY INSPIRED ME TO HEAR THAT SOMEBODY, WHO HAD GAINED SO MUCH LOVE, RESPECT AND INTERNATIONAL RECOGNITION FOR HIS ACHIEVEMENTS, STILL HAD THE DRIVE TO KEEP CHALLENGING HIMSELF, KEPT STRIVING TO GET BETTER AND BETTER.
»empty your mind. be formless. shapeless. like water.
PEOPLE TEND TO SUPPRESS EMOTIONS AND BEHAVE HOW OTHERS EXPECT THEM TO. THAT IS NOT THE WAY TO »BE WATER MY FRIEND«
BRUCE LEE »THE LOST INTERVIEW« [9.DEC.1971 — PIERRE BERTON SHOW]
western pop-culture — taoist philosophy LAO TZE’S »TAO TE CHING« [600 B.C. — CHINA]
the well LAO TZE’S »TAO TE CHING« [CHAPTER 8/81] — TRANSLATED BY JOHN C.H. WU
»I CHING« BOOK OF CHANGES HEXAGRAM [NR.48/64]
»the highest form of goodness is like water. water knows how to benefit all things without striving with them. it stays in places loathed by all men. therefore, it comes near the tao. in choosing your dwelling, know how to keep to the ground. in cultivating your mind, know how to dive in the hidden deeps. in dealing with others, know how to be gentle and kind. in speaking, know how to keep your words. in governing, know how to maintain order. in transacting business, know how to be efficient. in making a move, know how to choose the right moment. if you do not strive with others, you will be free from blame.«
2
»the well from which water is drawn conveys the further idea of an inexhaustible dispensing of nourishment«
BWMF.QUOTE
CONSTANT TRANSFORMATION
[INTRO 2/2]
A.K.A. WATER MEETS CHANGE
true story [ ONCE UPON A TIME ] RAFAEL GOES BERNARDO
THE »BE WATER MY FRIEND« WAY IS TO DRAW FROM YOUR EXPERIENCE AS TO GET BETTER AT DOING WHAT YOU LOVE BY CONNECTING HOW YOU THINK AND FEEL TO HOW YOU CREATE
after running an agency with partners for seven years, i realised that if i wanted to keep growing as a designer i had to chart a new course. besides founding a new studio from scratch, i started a side-project with the idea to explore my graphic voice by creating artworks of one and the same statement repeatedly. during that time i also began to develop a concept to share my creative process with clients. following my interest in ancient and contemporary concepts on how to work with time, i began to distil, combine and visualise principles, structures, and functionalities i found to be interesting. three years later, i had a systemic tool to focus, reflect, analyse, project, plan, track and evaluate a task, process or routine. a tool for teams and individuals to align what they do with how they think and feel. i called it the »be water my friend« methodology. 3
… MY FRIEND
ROOTS 6 — 111
[»BE WATER MY FRIEND« CREATIVE METHODOLOGY] TURN MINDSET AND INTUITION INTO TEAM - PLAYERS
CREATIVE METHODOLOGY
[FIRST CHAPTER] AS BELOW, SO ABOVE
BWMF.ROOTS
WINGS 114 — 222
[»BE WATER MY FRIEND« GRAPHIC JOURNEY] PRACTICE TO EXPLORE YOUR INNER VOICE
GRAPHIC JOURNEY
[SECOND CHAPTER] AS ABOVE, SO BELOW
BWMF.WINGS
[INTRODUCTION]
. get better . four benefits
[P.007] [P.008]
[ESSENTIALS]
. ways of perception . four bwmf.axioms . principles by numbers . the resonator
LEARNING IS THE PROCESS OF CONSIDERING EXPERIENCES IN CONTEXT AS TO GET BETTER AT ANTICIPATING THE FUTURE
BWMF.ROOTS A.K.A. METHODOLOGY
[P.012]
[P.026] [P.028]
[P.043]
[METHODOLOGY]
. three tools
[P.046]
[STORIES]
. metaphoric circle . bohr’s shell allegory
[P.062] [P.110]
turn mindset and intuition into team-players
AS BELOW, SO ABOVE [FIRST CHAPTER]
6
BWMF.ROOTS
[GET BET TER] IDEAS, SKILLS, PROJECTS, STRATEGIES, WORKFLOWS AND SO ON
the bwmf.methodology is designed to clarify perceptions and set expectations on how to approach big or small plans with the least possible friction while creating the highest possible impact. it supports creative performers in drawing on their own experience as to get better at developing, sharing and establishing their ideas, skills, strategies or identities. know and
grow your flow
WORST CASE SCENARIO WHAT YOU THINK IS NEITHER WHAT YOU COMMUNICATE NOR WHAT OTHERS UNDERSTAND
A
B
C
❤
A
A
[EXAMPLE]
what you imagine, say and the recipient understands is totally different. »BE WATER MY FRIEND« SCENARIO OTHERS UNDERSTAND WHAT YOU COMMUNICATE AND CAN RELATE TO IT
[EXAMPLE]
what you imagine, say and the recipient understands is congruent. [FOUR DRAMAS OF COMMUNICATION] [DRAMA I [DRAMA II [DRAMA III [DRAMA IV
7
NOT EVERYONE SHARES THE SAME PERSPECTIVES] NOBODY THINKS AND FEELS 100% THE SAME WAY] NOT EVERYONE CAN EXPRESS WHAT THEY THINK AND FEEL] YOU NEVER KNOW WHAT SOMEBODY IS THINKING]
INTRODUCTION
[ »MATRIX OF REACTION«] CIRCULAR NATURE OF EMOTIONS
the two main forces we want to see balanced in our inner game of creativity are thoughts and emotions. unfortunately western society values the power of thoughts higher than the power of feelings. sometimes ignored as a phase that will pass or experienced as a disturbance, inner peace is often reinforced by the decision to shut down emotions, giving only thoughts a license to speak. yet, ignoring your intuition leaves it free to do whatever it wants. but if we focus our awareness on the transition from one emotional state to the next and start to connect our mind by using it to guide our intuition, we start to use both, thoughts and emotions, to work/create our ideas. we feel now, always and only
[ CYCLIC NATURE OF EMOTIONS] GRAPHIC ON THE RIGHT
as a model, the »matrix of reaction« divides our emotional body of resonance into circles [123] representing different »spheres of perception«, which hold our emotional trigger-points and group them into categories. imagined as an experimental set-up, we will shoot different impulses at different times [ABC] . as we see, the first impulse triggers only one »sphere«. we see its point of impact and the expanding waves of emotion clearly. yet, when an impulse triggers more than one »sphere« simultaneously, their waves generate interferences. this is the point where linear systems can no longer explain the nature of emotions in their dimensional totality. yet using »matrix of reaction« as a model, allows us to locate/track the beginning and end of emotions, chain reactions or feedback-loops. yet, no matter how we separate/define our »spheres of perception«, there is and will always only be one feeling. or maybe put better: one emotional cocktail.
14
BWMF.ROOTS
[WAVE OF EMOTION]
RISE
WHEN AN IMPULSE HITS US, WE RESPOND WITH AN EMOTIONAL REACTION BEFORE OUR MIND CREATES A THOUGHT [SEE P.018]
IMPACT FALL
[END = START] 1 2 3
TIME A
IMPULSES [ABC] A
B
C
1 2
C
3
[P.036] SEE »THE THREE« IN THE CHAPTER »PRINCIPLES BY NUMBERS«
[123] SPHERES OF REACTION
B
1 A
1
B 2
3
C 3
2
one emotional cocktail EMOTIONS ARE CREATED BY THE INTERPLAY BETWEEN »THE SPHERES OF REACTION«. THEY REACT SIMULTANOUSLY BUT DIFFERENTLY TO IMPULSES AND FUSE TO WHAT AND HOW WE FEEL . THE NAME OF THIS MODEL? »THE MATRIX OF REACTION« [ABC] »IMPULSES« CAUSE OF REACTION [123] »SPHERES OF REACTION« IMPULSE-SENSITIVE FIELDS
15
EMOTIONS RISE AND FALL , THEY LIFT US UP OR BRING US DOWN. JUST LIKE THE WAVES AND TIDES, THAT COME AND GO
ESSENTIALS
[LEVELS OF EXPERIENCE] INDIVIDUALIT Y AND PERCEPTION
there are three general levels on which we can focus as to experience what we do, need or want. there is the physical level related to our body, five senses, our »conscious self« and its activities in the material realm. then there is the emotional level that takes us to our »inner self« , home to our creativity, intuition and values. last but not least, our »observing self« where the metacosm of empowering and limiting beliefs comes into play. the third cosmos. WHAT HAPPENS IN THE WORLD BEHAVES DIFFERENTLY FROM THE WAY WE IMAGINE [1]
[2]
[3]
HOW THINGS COULD BE AND HOW WE EXPERIENCE FEELINGS AND EMOTIONS. WHAT MAKES IT DIFFICULT/INTERESTING, TO ALIGN THESE THREE REALMS IS THE CIRCUMSTANCE THAT EACH ONE OF THEM OBEYS TO A DIFFERENT SET OF RULES.
[1]
[2]
[3]
[2]
[B]
[C]
[D]
[A] IMPULSE/TRIGGER [AWARENESS] [B] EMOTIONAL REACTION [INTUITION] [C] EVALUATION [MINDSET] [D] ACTION [ABILIT Y]
you [1]
[A]
[3]
[1] CONSCIOUS SELF [PERCEPTION] [2] INNER SELF [REFLECTION] [3] OBSERVING SELF [PROJECTION]
LEVELS TO EXPERIENCE ONE’S SELF [1] CONSCIOUS SELF [2] INNER SELF [3] OBSERVING SELF
[ DOORS OF PERCEPTION] GRAPHIC ON THE RIGHT
the graphic on the right shows the three levels of perception, how they come together as one and overlay as our individuality. on the bottom, we see permutations of how they can vary in size. big circles for aware and small circles for unaware levels of self-perception.
18
BWMF.ROOTS
THE SMALLER THE OVERLAP OF OUR LEVELS OF PERCEPTION, THE BIGGER THE DISSONANCE IN BETWEEN
THE BIGGER THE OVERLAP OF OUR LEVELS OF PERCEPTION, THE SMALLER THE DISSONANCE IN BETWEEN
[1] CONSCIOUS SELF
OD GO & D BA
RIG WR & HT ON G
[1/3] ACTIVITIES
in divi duality
[P.036] SEE »THE THREE« IN THE CHAPTER »PRINCIPLES BY NUMBERS«
[3/3] BELIEFS
[2/3] VALUES
TRUE & FALSE
[3] OBSERVING SELF
[2] INNER SELF
[A]
[C]
[B]
AWARE UNAWARE [SCALE OF AWARENESS] . CONSCIOUS SELF 0% .....|..... 100% . INNER SELF 0% .....|..... 100% . OBSERVING SELF 0% .....|..... 100%
19
INDIVIDUALIT Y REFLECTS HOW WE EXPERIENCE THE CONFLUENCE OF WHAT WE DO, VALUE AND BELIEVE
ESSENTIALS
[FIRST AXIOM] EVERY THING IS CONNECTED
nothing and nobody exists by itself and there are always more influences on what happens than we realise. [SECOND AXIOM] FORM FOLLOWS DIRECTION
things change because they have a past or because they have a future, but they can only do so in the moment of now. [THIRD AXIOM] CHANGE DRIVES TRANSFORMATION
the way of things is never repetitive, there is always a variation, so we can learn to see what makes a small or a big difference. [FOURTH AXIOM] NO ROOTS, NO FRUITS
if you can not see the possibility to do what you love, you probably do not understand what you really need or really really want.
THE FOUR BWMF.AXIOMS A.K.A. THINGS FOR SURE IF YOU CAN NOT AGREE ON THESE FOUR AXIOMS, YOU MIGHT AS WELL PUT THE BOOK ASIDE
26
BWMF.ROOTS
EVERYTHING IS CONNECTED FORM FOLLOWS DIRECTION CHANGE DRIVES TRANSFORMATION NO ROOTS NO FRUITS FIRST AXIOM [SEE PRINCIPLE P.032]
SECOND AXIOM [SEE PRINCIPLE P.034]
THIRD AXIOM [SEE PRINCIPLE P.036]
believe it or not 27
FOURTH AXIOM [SEE PRINCIPLE P.038]
[BWMF.AXIOMS]
ESSENTIALS
[BWMF.AXIOMS]
PRINCIPLES AND SECONDARY FUNCTIONS
EVERY THING IS CONNECTED
. COMPLETENESS . TO BALANCE
. POSITION . SCALE . SEQUENCE FORM FOLLOWS DIRECTION
. DUALIT Y . TO POLARISE
. DISTANCE . RELATION . AT TRACTION CHANGE DRIVES TRANSFORMATION
. RHY THM . TO FUSE
. PROGRESSION . CONSTELLATION . RHY THM NO ROOTS, NO FRUITS
. STABILIT Y . TO CONDENSE
. COORDINATES . CONTINUIT Y . PROPORTION
NUMBER
1 2 3 4
PRINCIPLES BY NUMBERS A.K.A. LENSES OF PERCEPTION USE THE PRINCIPLES OF NUMBERS TO PROJECT OR EXAMINE A SPECIFIC SUBJECT OR SITUATION
28
BWMF.ROOTS
[LENSES OF PERCEPTION] ANALY TIC VALUE OF NUMBERS
do you know »meditations on first philosophy« by rené descartes? where he pulls out his analytic scalpel to question everything we think to know? following his example and my interest for the process of development, i started to dissect ancient concepts of time and modern project management tools as to find similarities in their diversity. after having fought through a jungle of contemporary buzz words and leaving mystic allegories aside, i finally found something that allowed me to see them from one perspective and from the same distance. i found that we relate numbers intuitively with principles. principles which describe the essence of what we are able to think. lenses we can switch to explore different facets of one and the same thing. »the one« represents completeness, »the two« duality, »the three« the rhythm to come, stay and leave, while »the four« stands for the stability we need to orientate and navigate as we see in the cardinal points east, south, west and north. [P.032]
[P.034]
[P.036]
[P.038]
PRINCIPLES OF LIFE
RIP
[»THE ONE«] LIFE SPAN
29
[»THE TWO«] DAY&NIGHT
[»THE THREE«] YOUNG&MATURE&OLD
[»THE FOUR«] FOUR SEASONS
ESSENTIALS
[REALIT Y IS REALIT Y] WHAT YOU SEE IS WHAT YOU GET
numbers can support your analysis, when you use them as lenses to focus on different aspects of a subject.
A,B,C, easy as 1,2,3 (plus 4) NUMBERS DO NOT HAVE A MEANING, BUT THEY RESONATE WITH PRINCIPLES WHICH DEFINE A SET OF RULES AND ALLOW US TO ENTER DIFFERENT DOORS OR ROOMS OF PERCEPTION AS TO INTERPRET, SHARE OR DISCUSS WISHES, IDEAS OR PLANS FROM SPECIFIC PERSPECTIVES.
30
BWMF.ROOTS
DIVIDING BY NUMBERS A.K.A. LET ME GIVE YOU A FIRST EXAMPLE
BEFORE MIXING NUMBERS AND THEIR PRINCIPLES, USE THEM SEPARATELY
[»THE ONE«] LENS OF COMPLETENESS
[»THE TWO«] LENS OF DUALIT Y
to use »the one« as to describe »what you want«, zoom as far as you can between the centre of your motivation and the widest cosmos of possibilities you can imagine. why? goals need limits to determine the size, weight and character of »what you want«. find the sweet-spot of perfect balance between too high and too low expectations.
»the two« is the key to duality, a world of infinite pairs to describe a subject of interest. just like in a game of mikado, where we detect ending points of pairs to deconstruct what we see and confirm our assumption about how gravity holds the structure of pairs together.
you can do that before you start, after the end or all along the way. but keep the position of your extremes consistent, if you want to have them as reliable orientation-points to navigate. only reposition the extremes up or down, change their distance, if you want to re-calibrate your scale of expectations. be it on the level of input, outcome, benefit or impact.
we can also use »the two« to project a new layer on our »stack of mikados« as to place new pairs which describe »what we want«. on this level, we can take our time to chose new pairs and since we want to find the strongest polarities, it is okay to be picky. should you find yourself back in a stack of mikado, step back and ask yourself, whether you are deconstructing what you see or whether you are constructing what you think to understand.
[»THE THREE«] LENS OF RHY THM
[»THE FOUR«] LENS OF STABILIT Y
»the three« with its principle of change, takes us to the level of progression, where we can check three stages. a. what do we already know or have to get »what we want«? b. what do we need to do or get to achieve our goal? c. what do we want/have to do in order to create the change we want to see happen?
»the four« is two times »the two«. two pairs of extremes connected as a cross with a common centre that divides four quadrants.
this principle allows us to combine different pairs until we find a set to locate exactly what we want to investigate. try for example »i and somebody« in combination with »want and »the three« shows us that we can only take need« as coordinates to dissect the question situations to a next level, if they already exist. »are you doing what you want to do?«. where else do you detect opportunities, if not within or out of your ability and field of [MULTIPLE CHOICE] experience? how else do you push the limits when you do something, of your performance, if not by projecting you do it because the full range of what is possible? and how [ ] you want it else do you want to generate momentum, if [ ] somebody wants it 1 2 not by taking actions that deliver results on [ ] you need it 4 3 which you can build on in the future? [ ] somebody needs it
31
ESSENTIALS
NUMBER
PRINCIPLE
two
THEME
duality
to polarize
2
PRINCIPLE OF »THE TWO« BWMF.AXIOM
FUNCTION
form follows direction
split
THIS OR THAT
one
THE OPPOSITE
[ONE COIN] A
LEFT & RIGHT
34
B
THERE ARE ALWAYS TWO SIDES TO ONE COIN
BWMF.ROOTS
[»THE TWO«] FORM FOLLOWS DIRECTION
»the two« polarises the balance of »the one« and opens a level of distance between attractions.
[ME/YOU].[HE/SHE].[THEY/WE]
»the two« organises by building pairs. it creates attractions within the »one« while holding them together. we can see »the two« as the gravitation enforcing »the law of attraction«.
INSPIRATIONAL REFLECTIONS
SECONDARY FUNCTIONS
[P.058] SEE »THE FIVE EQUALIZERS« OF »THE HARP OF AT TRACTION«
close or far »the two« does not only tell us that there is always an opposite, it also shows that their distance can be either big or small.
[DISTANCE]
A
Z Z
A
attraction or rejection the »two« shows us differences and lets us compare which one of the two sides has more weight or a stronger effect on the attraction/ rejection.
[RELATION]
A A
A1
Z1 A2
Z2
intense or loose the opposites held together by »the two« can have a small or big distance to each other, which stands in relation to the strength of their connection.
35
Z Z
[AT TRACTION]
A
Z A
Z
ESSENTIALS
[EXAMPLE] LET’S GO ON VACATION
PRINCIPLE
[»THE ONE«] TO BALANCE COMPLETENESS
with »the one« we can collect holidays you had, heard of or know about. having a full hand of holidays now, let us describe them on different levels. let us take the list of »ones« as a ground level from which we can zoom into and out of different types/kinds of holidays. compare them. which »one« do you like best? [»THE TWO«] TO POLARISE DUALIT Y
with »the two« we can start to fine-tune our idea of the holiday by checking polarities with questions like »how long/short should it be?«, »how expensive/cheap can it be?«, »is the destination far/close?«, »are you traveling alone or with others?« and so on. at the end, »the two« will take us from here to there and set the start and end of the trip. [»THE THREE«] TO FUSE RHY THM
since »the three« tells us that past, now and future are simultaneously present in different intensities, we can start to consider the flow of our holiday by transferring the stages of »the three«. we can for example name three phases: »everything that has to do with preparation«, »the act of being on the journey« and »what we get out of it at the end«. [»THE FOUR«] TO CONDENSE STABILIT Y
to get an overview on our holiday options, when can take »the four« to build a coordinate system to locate positions. all we need are two »twos« to build quadrants. the only question is what you want to check. a pragmatic »two« could be the polarity of cheap and expensive. and if you can not decide if you want action or relaxation, then that is your other »two«.
1 2 3 4
no matter how we look at it, it is what it is [PERCEPTION]
1 IS NOT 2
2 IS NOT 1
3 IS NOT 4
1 IS 2
2 IS 3
3 IS 4
[PERCEPTION]
PRINCIPLES [REALIT Y]
LET ME GIVE YOU ONE LAST EXAMPLE A.K.A. YOUR NEXT VACATION 42
[REALIT Y]
IN CONVERSATIONS, IT HELPS TO LET OTHERS KNOW WHEN YOU SWITCH PERSPECTIVES
BWMF.ROOTS
[SYNCHRONISING MINDSET AND INTUITION] PROBABLY THE MOST IMPORTANT PAGE IN THIS BOOK
people love to have step by step strategies to reach success. yet, one should be aware that the individuality of a person or team can not be adapted by others. so what can we do to reveal the actual spectrum of current possibilities? first, i would suggest to accept the uniqueness of the way you think, feel and act. become aware of how you are wired. observe your inner game. listen to the dialogue between your mind and your emotions. practice to locate the position of feelings within your body and focus on thoughts to stop them from moving by using principles as lenses. observe and listen how your mindset and intuition respond and see how far you are able to project a future by keeping what you think and feel in synch with what you want to do. [FULL SYNCH]
[HALF SYNCH]
[HALF SYNCH]
[OFF SYNCH]
[MINDSET]
[MINDSET]
TASK/ROLE/ETC.
TASK/ROLE/ETC.
[INTUITION]
[INTUITION]
WHAT YOU DO, THINK AND FEEL IS IN LINE
WHAT YOU DO AND THINK IS IN LINE
WHAT YOU DO AND FEEL IS IN LINE
HMM... GOOD LUCK MY FRIEND
what we do can be in full, half or off synch with the way we think and feel THE RESONATOR A.K.A. MINDSET MEETS INTUITION 43
LEARN TO THINK HOW YOU FEEL AND TO FEEL HOW YOU THINK BY SYNCHRONISING MINDSET AND INTUITION
ESSENTIALS
EXAMINE YOUR CREATIVE PROCESS A.K.A. DESIGN YOUR WORKFLOW
GET READY TO ENTER THE »BE WATER MY FRIEND« METHODOLOGY
THE EXAMPLE BELOW REFERS TO THE USE OF THE NUMBER »TWO« AND ITS PRINCIPLE OF DUALIT Y AS TO DEMONSTRATE THE WAY TO WORK THE »BE WATER MY FRIEND« METHODOLOGY:
stairway to water [01] [02] [03] [04] [05] [06] [07] [08]
EMPT Y/OPEN YOUR MIND SET SUBJECT INTO SPOTLIGHT/MIND -SPACE CHOOSE PRINCIPLE, FUNCTIONALIT Y OR TOOL OBSERVE HOW YOUR INTUITION RESPONDS SWITCH PRINCIPLE, FUNCTIONALIT Y OR TOOL OBSERVE HOW YOUR INTUITION RESPONDS COLLECT INSIGHTS TRANSFER INSIGHTS TO REALIT Y
[HOW DO YOU GET BET TER?] THE EXPERIENCE TO EXPERIENCE
if you want to understand what holds you back or pushes you forward, sit down and look at your workflows and routines. take your last five projects for example and look what gave them a good or bad start. do the same with the ends. reflect what kind of beginnings and ends determine a good or bad process for you. now picture a perfect start and end. focus on the two points to sense how they feel. done? then zoom out to look at the connection between them. move back and forth along this line. dive into the transition. start from one side and move to the other. get a feel for the gradient by going back and forth until the connection is stable. done? great! now implement your best start, end and progression to your next project. 44
BWMF.ROOTS
[BWMF.METHODOLOGY] DIVE INTO PERCEPTION
reflect your experience [CARE&SHARE] CONNECT AND PROTECT
coordinate workflows [KNOW&GROW] BUILD, CATCH AND RIDE WAVES
generate momentum
45
METHODOLOGY
CONTEXT
[SIX VIEWPOINTS]
TOOL [1/3]
THE CONTEXT COLLECTOR
T
1
WHO
RE
W
T HA
HY
W W
W
HE
HO WHEN
think’n’reflect QUESTIONS WIDEN THE HORIZON WHILE ANSWERS NARROW IT DOWN [STAGES] . STATUS QUO . BEST CASE . WORST CASE
52
[VIEWPOINTS] WHO . WHAT . WHERE . WHEN . HOW . WHY .
BWMF.ROOTS
[BRIGHTENING THE CORNERS] CONTEXT DEFINES THE PLAYGROUND
the »context collector« works with six viewpoints to set perspectives that can be used to phrase questions as to describe any subject of interest. we can look at what we could, should, have or need to consider on our journey as to set the foundation and frame of our idea/plan/project as to explore our subject on three stages. first, the status quo as the current situation; then, the scenario we strive towards and last, but not least, the worst case. why? to check what could go wrong, confirm that we are well prepared and ready to start.
THE RELEVANCE OF THE CONTEXT LIES IN ITS ROLE TO DEFINE AND FRAME POSSIBILITIES, INTERESTS, STANDPOINTS, PERSPECTIVES AND CONSTELLATIONS WITHIN SITUATIONS
567 [WHY SIX AND NOT FIVE OR SEVEN VIEWPOINTS?]
»THE SIX« MULTIPLIES THE PRINCIPLE OF RHY THM [»THE THREE« P.036] WITH THE PRINCIPLE OF DUALIT Y [»THE TWO« P.034] AS TO BRING THE THE POWER OF AT TRACTIONS INTO A STRUCTURE OF PROGRESSION AND STATE OF »EFFICIENT STABILIT Y« [NOT THE SOLID STABILIT Y OF »THE FOUR« P.038]. WE FIND THIS PRINCIPLE AS »REDUCED USE OF MATERIAL FOR MAXIMUM STABILIT Y« WHEN WE LOOK, FOR EXAMPLE, AT HEXAGONAL STRUCTURES IN NATURE.
53
METHODOLOGY
MOTIVATION
TOOL [2/3]
[FIVE DUALITIES IN A SPECTRUM OF SEVEN]
ATTRACTIONS AND EQUALIZERS HIDDEN
CARE
SAFETY
POWER
CURIOSITY
T
PASSION
2
VISION
CONSERVATIVE
DIRECTION
PROGRESSIVE
DETAIL
FOCUS
CONSTELLATION
CLOSE
PERSPECTIVE
WIDE
HARMONIC
VIBE
TENSE
SYSTEMATIC
EVALUATION
INTUITIVE
[A] THE SPECTRUM OF SEVEN AT TRACTIONS
[B] EQUALIZER WITHIN AT TRACTIONS
emotions run in cycles [P.014] and have a direction that moves towards attractions. this motion runs in sequences and can be experienced/described by the centre it focuses on and connects with.
after having approached the seven attractions and having found one or two which resonate with us the most, we can step into the second level as to tune their equalizer and take a look at their five dualities.
the »harp of attraction« defines seven attractions and starts with »power« in the centre/ top. the feeling to have the abilities and possibilities we see inside and outside of us in synch. from here we can widen our focus in order to let the feeling expand, or we can narrow it down to compress our emotion.
POWER
C R
TY
U IT
SA
S
FE
IO
with the first equalizer in the row, we can describe in how far the »direction« of our motivation is driven by a »conservative« or a »progressive« intent. moving to »focus«, we can set the equalizer between »detail« and »constellation«. looking at »perspective«, we can see how »close« or »wide« our frame of perception is, and, with »vibe«, we can see how »tense« or »harmonic« our attraction feels. the last duality of our equalizer describes the way of »evaluation« that can be »systematic« or »intuitive«.
Y
L W
E
E
PA S
VI
SI
ON
CA R
FE
SION
HI
DD
EN
58
NT V HA E
A
[C] PROJECTING AT TRACTIONS
we can use the emotional spectrum of the »harp of attraction« to describe the feel of any subject, an impression we have of something or an expression we want to create. referring to the three stages of the »context collector«, we can also use the »harp of attraction« to describe worst case scenarios. how something should not feel like.
BWMF.ROOTS
[POWER]
[CURIOSIT Y]
[PASSION]
[CONSERVATIVE [DETAIL [CLOSE [HARMONIC [SYSTEMATIC
15% 05% 20% 20% 15% 25% =
[POWER VS SAFET Y] TUNING EXAMPLE
POWER P D
V E F
NT
L FEE E
[SAFET Y]
DIRECTION FOCUS PERSPECTIVE VIBE EVALUATION
+/- 100% compressing »power« takes us to »safety«, the motivation to protect what we have, while expanding into »curiosity« awakens the wish for discovery.
[»POWER«]
[»CURIOSIT Y«] expanding »curiosity« to »passion« turns attention into commitment, while compressing gives us the »power« to know what we want. [»SAFET Y«] expanding »safety« into »care« lets the awareness that others also have the need to feel safe, grow, while compressing creates certainty to step into »power«.
V HA E
A
+/+/+/+/+/-
[CARE]
PROGRESSIVE] CONSTELLATION] WIDE] TENSE] INTUITIVE]
[DIRECTION] [FOCUS] [PERSPECTIVE] [VIBE] [EVALUATION]
CARE SAFETY POWER CURIOSITY PASSION VISION 100%
W
[VISION]
D P
V F
SAFETY
[»THE LAST TWO«] »vision« and »hidden« play a special role in this circle. they represent a higher/visible and a deeper/invisible level in which motivations can be rooted.
matrix of reaction [SEE P.014]
matrix of perception [SEE P.020]
59
METHODOLOGY
PROCESS
[FOUR RINGS IN A CIRCLE]
RING [3/4]
»TWELVE STATIONS« [3RD RING]
R
3
T
3
[SUBSTANCE] PHASE 1/3
INITIATE — UNITE — ANALYSE — IMAGINE — DEFINE — PROTOT YPE ELABORATE — CONSOLIDATE — OVERVIEW — NAVIGATE — PERFORM — INSPIRE
UNITE [2/12]
ANALYSE [3/12]
IMAGINE [4/12]
DEFINE [5/12]
PROTOT YPE [6/12]
ELABORATE [7/12]
CONSOLIDATE [8/12]
OVERVIEW [9/12]
NAVIGATE [10/12]
PERFORM [11/12]
INSPIRE [12/12]
[ENERGY] THEME 1/4
[STRUCTURE] THEME 2/4
[REALITY] THEME 3/4
[ATTRACTION] THEME 4/4
[EXECUTION] PHASE 3/3
[POTENTIAL] PHASE 2/3]
INITIATE [1/12]
[A]
[-A/A]
[-1/0/1+]
[A=1/12]
3 x 4 = 12
[DESCRIPTION] »STATIONS« P.080 »SYNTAX« P.079
POSITION
70
POLARIT Y
SEQUENCE
CONSTELLATION
[PRINCIPLES] »THE THREE« P.036 »THE FOUR« P.038
BWMF.ROOTS
PROCESS
[FOUR RINGS IN A CIRCLE]
»FOUR TRANSITIONS« [4TH RING]
RING [4/4] R
4
T
3
BALANCE — POLARISE — FUSE — CONDENSE
connection/space between »the four themes«
B P F C
[1/4] BALANCE
[PROCESS]
[DEVELOPMENT]
to start or push something to the next level requires balancing what has happened and what shall come next. we divide what we want/need from what we do not want/need to evaluate decisions that allow us to cross the line and level up.
experiences and expectations can be huge and weigh nothing or be tiny and have an incredible weight. just as the question »what do you want«. it is light, standing at the beginning, and gets heavier the closer we get to the end.
[2/4] POLARIZE
whenever we start to develop a concept, we dive into the structure of our idea by activating its framepoints and coordinates. we look for extremes to set and tune the set of scales outlining the dimension of our field of action.
since the meaning of things can change, if we move or shift points of perspective, the question about separating the good from the bad can be very tricky. especially when we define a polarity of two extremes that does not fit/belong together.
[3/4] FUSE
since ideas can be divided into infinity, it is important to notice when the structure is saturated. the times we have to stop conceptualising and start to bring the things we find interesting and important together in one.
to know what you want and what you do not want is good, but helps little, if you miss out on making decisions that lead to actions that bring your thoughts, feelings, wants and needs together. yes, progress sums up to more than just taking single steps.
[4/4] CONDENSE
any process creates more output than is visible at the end. therefore, the ability to filter and distill the essence of what we did is crucial. the ability to »kill your darling«, to take only what is needed to move forward, get on point and step up.
there is nothing more fulfilling, than catching possibilities that fit your interest or to follow a talent that promises a goal behind the horizon. having every possibility, we need to find what is essential for us to define or express our identy/individuality.
71
METHODOLOGY
[RINGS 1&2]
[GF] GOOD FOR
VS
BAD FOR [BF]
[GA] GOOD AT
VS
BAD AT [BA]
[SUBSTANCE] PHASE 1/3
[POTENTIAL] PHASE 2/3
[EXECUTION] PHASE 3/3
[ENERGY] THEME 1/4
[STRUCTURE] THEME 2/4
[REALIT Y] THEME 3/4
[AT TRACTION] THEME 4/4
RINGS 1&2 time to reflect 76
WHAT IS GOOD/BAD FOR IT
WHAT ARE YOU GOOD/ BAD AT
[DESCRIBE YOUR TASK/PROCESS/STRATEGY/ROUTINE/ROLE]
take any subject and describe it by writing down what is good and bad for each »phase« and »theme«. look at yourself and answer in which sections you are good/bad at. repeat this to compare how you changed.
BWMF.ROOTS
PROCESS
[FOUR RINGS IN A CIRCLE]
TOOL [3/3]
»SPECIAL EFFECTS« FUNCTIONALITIES
T
3
PUSH&PULL — LOOPS&GATES — 50/50 PARTNER — TRIPLE TEAM
effects caused by constellation
con’n’ect PUSH &PULL
after zooming into a single »station«, we can zoom out of the »creative circle« as to look at its position/constellation. from this perspective, keeping the current »station« in focus/centre, we can start to notice its direction. a movement with the nature to move forward step by step, yet can be changed by setting our attention to a step lying further ahead or behind. shifting our focus forward creates a »push effect« [distance increases height] while shifting it backwards creates a »pull effect« [distance increases depth]. DESCRIBE/SET THE APPROACH/INTENT/PURPOSE OF A TASK/PROCESS/ROUTINE [PULL -12 -11 -10 -9 - 8 -7 - 6 -5 - 4 -3 -2 -1] NOW [1 2 3 4 5 6 7 8 9 10 11 12 PUSH]
LOOPS& GATES
besides looking at a single »station«, we can examine neighbouring pairs, which, depending on their position in the circle, build one of two types of pairs. there are »loops« between the second and third »station« of each phase [themes: »structure« »reality«] with the strategy of running cycles to gain depth [watch out, infinity trap]. and there are »gates« between the last »station« of one and the first »station« of the next phase [themes: »attraction« »energy«] with the strategy to step/leap out of a current phase and level up. AT TRACTION
ENERGY
VS
[XII] INSPIRE [IV] IMAGINE [VIII] CONSOLIDATE
[I] INITIATE [V] DEFINE [IX] OVERVIEW
STRUCTURE
REALIT Y
[II] UNITE [VI] PROTOT YPE [X] NAVIGATE
[III] ANALYSE [VII] ELABORATE [XI] PERFORM
50/50 PARTNER
each station of the »creative circle« has a »fifty-fifty partner« lying on the exact opposite position of the ring. as in any relationship, the distance of a half cycle [poles of duality] lets their functions complement each other and creates two kind of opposing effects. one is focus/support/inspiration, the other one is disturbance/sabotage/blockade. look for example at »initiate to elaborate«, to consider the makeability of an idea. an approach/intent/purpose that can raise the quality of the idea but also break its neck right away.
TRIPLE TEAM
since the »four themes« repeat in each phase, there are groups of three »stations« that are related by constellation and can therefore lead to confusion: the »triple teams«. look at »energy« [»theme« 1/4] with »initiate«, »define« and »overview« for example and reflect whether what you want to ignite lies in the right phase. there is a difference between energising »substance«, »potential« or »execution«. think about it. it could make a difference and you could find sidetracks or new ways to design/enjoy your process. [SINGLE STATION LOOP] NOT THE PHASE - LOOP OF »STRUCTURE & REALIT Y« EXAMPLE »INITIATE«: TO COME UP WITH ONE IDEA AFTER THE OTHER WITHOUT TAKING A NEXT/FOLLOWING STEP
77
METHODOLOGY
PROCESS
[FOUR RINGS IN A CIRCLE]
TOOL [3/3]
[HOW TO CIRCLE CREATIVITY] DIVING INTO TASKS, ROLES AND STYLES OF PROGRESS T
3
[FIFTH STEP] PRACTICE TO REFLECT DEVELOPMENT
practice the »creative circle« in small steps. start by dividing »ones« [see below] by the four rings separately. get an understanding/feeling of how you interpret/connect their sections.
FIRST
[DIVIDE AND DESCRIBE]
[ONE] TASK/PROCESS/VISION
[START]
[END]
[SUBSTANCE]
[POTENTIAL]
[ENERGY]
[STRUCTURE]
SECOND
[EXECUTION]
[REALIT Y]
[AT TRACTION]
[ALTER AND COMBINE]
[SUBSTANCE, POTENTIAL , EXECUTION, ENERGY, STRUCTURE, REALIT Y OR AT TRACTION]
[S]
[E]
[S]
[P]
[E]
THIRD
[S]
[E]
[R]
[A]
[COLLECT INSIGHTS]
[DRAW DETAILS INTO THE BIG PICTURE]
become clear about the relation of the rings and your interpretations of the sections of the »creative circle« to find/establish/push your way to »be water my friend«. move your focus to switch from one state to another. let your mind make sense of the linear progressions described by each ring and let your intuition close the circle. [THINGS TO DO WITH SECTIONS] . FOCUS ON ONE OR MORE SECTIONS [FROM ONE STEP TO A SEQUENCE] . RAISE RESOLUTION WITH AMOUNT OF RINGS [ZOOM IN/OUT/AROUND]
FOURTH
[APPLY INSIGHTS]
[WALK THE TALK]
work with the relation of the rings and your interpretations of the »creative circle« to find/ establish/push your way to »be water my friend«. let your mind and intuition work together to find consent in your progression/workflow/routine. practice to zoom in and out of levels, move back and forth in time and transfer insights to your workflow.
78
BWMF.ROOTS
PROCESS
[FOUR RINGS IN A CIRCLE]
TOOL [3/3]
»THE SYNTAX« GRAMMAR & VOCABULARY
T
3
THE BWMF.SYNTAX RESULTS OUT OF THE CONSTELLATION OF THE SECTIONS ON THE FOUR RINGS
the secret of the »creative circle« lies in its structure. the constellations between the rings and their sections, which work like a syntax and can be used to read the »creative circle«. [LEVEL ONE]
ZOOM INTO THE SEQUENCE OF A TASK/PROCESS/STRATEGY/ROUTINE/ROLE
each section is described/defined by its name. [LEVEL TWO]
MEASURE THE DISTANCE OF AT TRACTIONS
determine your current position and one to focus on. connect and shift them back and forth along the ring and compare differences between small steps [E.G. I–II »INITIATE TO UNITE«] and »50/50 partners« [E.G. I—VII »INITIATE TO ELABORATE«] until you have a combination of two »sections« that specify how to approach your task/role/routine. here, as an example, let me read the »three phases« of the »creative circle«: »substance initiates to image«, »potential defines to consolidate« and »execution overviews to inspire«. [READING EXAMPLE]
»initiate to analyse« when the topic interests you. »initiate to prototype«, when there is something new you want to try. »initiate to perform« when you seek to master a skill. »inititate to inspire« to complete »the creative circle«. [LEVEL THREE]
USE THE SYNTAX TO READ THE »CREATIVE CIRCLE«
as seen above, we can move along the »twelve stations«, and since the four rings of the »creative circle« stand in constellational relation to one another, we can combine corresponding sections. we can phrase sentences that describe a task/ role/etc. from a minimum of two to a maximum of four sections. [READING EXAMPLE]
the »creative circle« says about »initiate«: 01. first step in »substance« [sometimes results are bad, because of the idea], 02. »energy to initiate« [are you motivated to start the process?], 03. to »balance inspiration to initiate« [classic expectation-management before the start] and 04. »balance energy to initiate substance« [how do to get the best result for what you want?]. [PHASE]
[S]
[THEME]
[E]
[S]
[R]
[A]
[E]
[S]
[R]
[A]
[E]
[S]
[R]
[A]
[STATION]
[I]
[II]
[III]
[IV]
[V]
[VI]
[VII]
[VIII]
[IX]
[X]
[XI]
[XII]
[TRANSITION]
[B]
[P]
[P]
[F]
[C]
[B]
[E]
[P]
[F]
[C]
[B]
[P]
[F]
[C]
FIND THE FULL SYNTAX READINGS ON P.088 [SUBSTANCE] P.098 [POTENTIAL] & P.108 [EXECUTION]
79
METHODOLOGY
[1/12] STATION
»THE CREATIVE CIRCLE«
RING [3/4]
INITIATE [I/XII] PHASE [1/3]
substance
THEME [1/4]
R
3
T
3
50/50 PARTNER
energy
elaborate
the »creative circle« starts with the task to »initiate«. a step, which is activated by an impulse, sets direction, defines expectations and ignites a process. [1. REFLECTION]
WHAT IS IMPORTANT/RELEVANT/CHALLENGING FOR YOU IN THIS STATION?
[2. SKILL-LEVEL]
WHAT IS YOUR LEVEL OF TALENT/CAPABILT Y/EXPERIENCE IN THIS STATION?
[1/3.SUBSTANCE] [3. FACTORS]
[1/4.ENERGY]
80
[2/3.POTENTIAL]
[3/3.EXECUTION]
WHAT SUPPORTS/RESTRAINS YOU IN WORKING THIS STATION WELL?
[2/4.STRUCTURE]
[3/4.REALIT Y]
[4/4.AT TRACTION]
BWMF.ROOTS
[METAPHOR]
[I] HEAT OF THE SUN
everything that starts, begins with an impulse that defining a centre. this initial force can vary in intensity, is a source of energy and creates dreams and ideas. looking at the metaphoric cycle of water, this force is the sun. the centre of our solar system. the heat that brings water to melt/evaporate and the cause for the movement of clouds between cold and warm air, the wind. put it in a questions: »what does your heart burn for?« and »why did ancient cultures associate the sun with gold?«. PUSH+1
PULL-1
unite
inspire
[A]
POSITIONS
TASK
[I/XII] INITIATE
TRIPLE TEAM
define and overview
to activate or ignite a process. the initial impulse. to start. PHASE
[1/3] SUBSTANCE
to push something to the level of substance requires balancing what has happened before and what shall happen next. we separate what we want/need from what we do not want/need and evaluate decisions that allow us to cross the line and start a new journey. THEME
[1/4] ENERGY
as so often, the quantity of energy is not as essential as its quality. we can put a lot of effort to start an idea that will never see daylight or we can catch fire with a tiny flickering idea. starts can explode and cause chain reactions. this »station« can be mind blowing. STAGE
[GATE 2/2] FROM EXECUTION INTO SUBSTANCE
everything we start stands in relation to everything which inspires us. here we are confronted with the task to take what inspires us and lift it from the field of »execution« into »substance«. the question is how much of what inspires us are we able to implement in our project? [B]
EFFECTS
50/50 PARTNER
[I› VII] INITIATE TO ELABORATE
PUSH+1
[I›II] INITIATE TO UNITE
what we start can be motivated by the wish to create an output. here expectations can lift our intensity to start, but can also block us from making the first step. especially when expectations do not fit the frame of possibilities or are too heavy for our shoulders. the cause of an impulse is to create a feeling, the first impression and in case of an idea, its emotional echo.
PULL-1
[I›XII] INITIATE IF INSPIRED
we can raise the intensity of our initial impulse by pulling our focus back to »inspire« as to look for the highest point to kick-off our idea.
[QUESTION PROCESS] WHAT DOES IT TAKE TO START?
81
[QUESTION DEVELOPMENT] WHAT DO YOU REALLY REALLY WANT?
METHODOLOGY
A . STEP
[I] INITIATE
initiate
A.
B. PHASE
[INITIATE & SUBSTANCE]
substance
B1.
to initiate [subject: start]
B2.
to initiate happens in substance substance needs/wants a start
C. THEME
[INITIATE & SUBSTANCE & ENERGY]
energy
C1.
initiate energy in substance initiate substance through energy C3. substance initiates energy C4. substance is/has/needs/wants energy to initiate C5. energy initiates substance C6. energy is/has/needs/wants substance to be initiated C2.
D. TRANSITION
[INITIATE & SUBSTANCE & ENERGY & BALANCE]
balance/balance
D1.
A . STEP
[II] UNITE
unite
A.
B. PHASE
[UNITE & SUBSTANCE]
substance
B1.
initiate the energy of substance through balance initiate substance to balance energy D3. initiate balance to energise substance D4. energy needs substance to balance the start D5. energy balances the start in substance D6. energy initiates substance through balance D7. substance initiates energy through balance D8. substance energises the balance of the start D9. substance balances to initiate energy D10. balance initiates energy in substance D11. balance the energy of substance to initiate D12. balance substance to initiate energies D2.
to unite [subject: unity]
B2.
to unite happens in substance substance needs/wants unity
C. THEME
[UNITE & SUBSTANCE & STRUCTURE]
structure
C1.
D. TRANSITION
[UNITE & SUBSTANCE & STRUCTURE & POLARIZE]
polarise/polarity
D1.
88
unite structures in substance C2. unite substance through structure C3. substance unites structures C4. substance is/has/needs/wants structure to unite C5. structure unites substance C6. structure is/has/needs/wants substance to be united unite the structure of substance through polarity unite substance to polarise structure D3. unite polarities to structure substance D4. structure needs substance to polarise unity D5. structure polarises the unity in substance D6. structure unites substance through polarity D7. substance unites energies through polarity D8. substance structures the polarity of unity D9. substance polarises to unite structures D10. polarity unites structures in substance D11. polarise the structure of substance to unite D12 . polarise substance to unite structures D2.
BWMF.ROOTS
[III] ANALYSE A.
STEP .A
to analyse [subject: analysis]
analyse
[ANALYSE & SUBSTANCE]
PHASE .B
to analyse happens in substance B2. substance needs/wants analysis
substance
B1.
[ANALYSE & SUBSTANCE & REALIT Y]
THEME .C
analyse realities in substance C2. analyse substance through reality C3. substance analyses realities C4. substance is/has/needs/wants reality to analyse C5. reality analyses substance C6. reality is/has/needs/wants substance to be analysed
reality
C1.
[ANALYSE & SUBSTANCE & REALIT Y & FUSE]
TRANSITION .D
analyse the reality of substance through fusion D2. analyse substance to fuse reality D3. analyse fusion to realise substance D4. reality needs substance to fuse analysis D5. reality fuses the analysis in substance D6. reality analyses substance through fusion D7. substance analyses reality through fusion D8. substance realises the fusion of analysis D9. substance fuses to analyse reality D10. fusion analyses reality in substance D11. fuse the reality of substance to analyse D12. fuse substance to analyse realities D1.
fuse/fusion
[IV] IMAGINE A.
STEP .A
to imagine [subject: imagination]
imagine
[IMAGINE & SUBSTANCE]
PHASE .B
to imagine happens in substance B2. substance needs/wants imagination
substance
B1.
[P.079] SEE »THE SYNTAX« AND ITS GRAMMAR AND VOCABULARY
[IMAGINE & SUBSTANCE & AT TRACTION]
THEME .C
imagine attraction in substance C2. imagine substance through attractions C3. substance imagines attractions C4. substance needs/wants attraction to imagine C5. attraction imagines substance C6. attraction has substance to be imagined
attraction
C1.
[IMAGINE & SUBSTANCE & AT TRACTION & CONDENSE]
imagine the attraction of substance through condensation D2. imagine substance to condense attraction D3. imagine the essence to attract substance D4. attraction needs substance to condense imagination D5. attraction condenses the imagination in substance D6. attraction imagines substance through condensation D7. substance imagines attractions through condensation D8. substance attracts the condensation of imagination D9. substance condenses to imagine attractions D10. condensation imagines attractions in substance D11. condense the attraction of substance to imagine D12. condense substance to imagine attractions D1.
89
TRANSITION .D
condense/condensation
METHODOLOGY
ROOTS 6 — 111
fifty50
[»BE WATER MY FRIEND« CREATIVE METHODOLOGY] TURN MINDSET AND INTUITION INTO TEAM - PLAYERS
CREATIVE METHODOLOGY
[FIRST CHAPTER] AS BELOW, SO ABOVE
BWMF.ROOTS
WINGS 114 — 222
50fifty
[»BE WATER MY FRIEND« GRAPHIC JOURNEY] PRACTICE TO EXPLORE YOUR INNER VOICE
GRAPHIC JOURNEY
[SECOND CHAPTER] AS ABOVE, SO BELOW
BWMF.WINGS
[INTRODUCTION]
. creative journey
[P.115]
PRACTICE HELPS TO FIND THE INNER VOICE
BWMF.WINGS A.K.A. GRAPHIC JOURNEY
[ON THE ROAD] PERSONAL AND COLLABORATIVE WORKS
. eleven personal and collaborative works
[P.116]
[ON THE FLY] BLACK AND WHITE POSTERS
. eighty posters in black and white
[P.140]
[THANKS] PEOPLE, PICTURES AND BIBLIOGRAPHY
. nobody is an island
[P.222]
practice to explore your creativity
AS ABOVE, SO BELOW [SECOND CHAPTER]
114
BWMF.WINGS
[CREATIVE JOURNEY] BETWEEN 2017 AND 2021
no matter from how many different levels and perspectives i can describe creativity, i am still not able to describe what creativity itself really is… the deeper i get, the wider it expands. yes, the methodology can take us very deep into the catacombs of perception and communication, but, in the end, you need to practice your craft if you want to let everything you understand flow into your actions. so, i guess, there is no other way to experience creativity than to create something yourself and express your inner voice. AT THE END, IT IS ABOUT THE MATCH BETWEEN THE QUALIT Y OF YOUR EXPERIENCE IN THE PROCESS AND HOW OTHERS EXPERIENCE THE QUALIT Y OF YOUR OUTPUT
12 80 ME&WE WORKS
POSTER WORKS
115
INTRODUCTION
[»BE WATER MY FRIEND«] ONE PROJECT AFTER THE OTHER
since half of the book is dedicated to the »be water my friend« methodology, it kind of demanded i structure and describe my graphic journey according to the »twelve stations« of the »creative circle«. just kidding, enough theory. time to look at some designs, artworks and posters. [RUNNING MOTIFS] THERE ARE A FEW ARTWORKS THAT I KEEP COMING BACK »PSYCHO -DROP«
[P.117] BACKGROUND FOR B.W.M.F. LAZER-BOT TLE [P.124] COVER FOR THE B.W.M.F. »100FOR10« PUBLICATION
»CRYSTAL«
[P.120] CNC- CARVING OF AN 80KG MDF-PLATE [P.125] MURAL MADE WITH ALUMINUM-TAPE [P.139] PAINTED POSTER AS PART OF A MURAL
»BLOW«
[P.121] RUSTED STEEL PLATES USING STENCILS [P.191] ONE OF THE EIGHT Y POSTERS IN THIS BOOK
12 ME&WE WORKS
B.W.M.F. ON REPEAT A.K.A. AGAIN AND AGAIN THE »BE WATER MY FRIEND« JOURNEY STARTED WITH A QUOTE THAT INSPIRED ME TO EXPLORE MY CREATIVIT Y
116
BWMF.WINGS
117
lazer sharp
[MESSAGE ON A BOT TLE] WE SHOT THE LAZER-ENGRAVED BOT TLES WITH A SILVER-PAPER POSTCARD WITH THE BWMF.MOTIF »PSYCHO -DROP«AS A REFLECTING BACKGROUND
ON THE ROAD
heavy duty
rust in peace
BWMF.STEELZ.SERIES WITH THE MOTIF »BLOW« MADE TO FIT 8 DINA2 STEEL-PLATES. WORKED WITH LAZER, STENCILS, SPRAYPAINT AND TIME TO RUST
[MUNICH — GERMANY] EXHIBITION OF AN 80 KG MDF-PLATE THAT I CNC- CARVED WITH BWMF.MOTIF »CRYSTAL«
120
BWMF.WINGS
121
ON THE ROAD
one for all
[WORLDWIDE] THE ARTPROJECT »100FOR10« IS A SERIES OF BOOKS WITH 100 PAGES IN BLACK AND WHITE, INITIATED BY MELVILLE BRAND DESIGN AND DISTRIBUTED WORLD WIDE
124
BWMF.WINGS
125
water reflects
[MUNICH — GERMANY] THE MOTIF »CRYSTAL« AS A MURAL FOR THE EVENT »COMMON GROUND« MADE WITH ALUMINUM TAPE
ON THE ROAD
print is not dead
[WORLDWIDE] TO ACCOMPANY THE MAGAZINE »RADIK AL ZEITGEMÄSS« FOR ROSENTHAL , WE PRODUCED THE TWO COLOURED SILKPRINT »MOON RIVER«, A BWMF.INTERPRETION OF THE COVER: . MOON = LIGHT IN THE DARK + GUIDING STAR + INNER PASSION . CONSTANT MOVEMENT + CLEAR DIRECTION + PERSONAL ROUTE = RIVER
128
BWMF.WINGS
dreams come true
[VIENNA — AUSTRIA] TRIBUTE TO THE FOUNDER OF ANALY TIC PSYCHOLOGY SIGMUND FREUD, WHO BELIEVED THAT WE HAVE DREAMS FOR A REASON
129
ON THE ROAD
walk the talk
[WORLDWIDE] ARTICLE FOR ROSENTAHL’S BROCHURE »SIXT Y & TWELVE«, AS TO DESCRIBE HOW I APPLIED THE »BWMF.METHDOLOGY« TO DEVELOP THE CAMPAIGN’S VISUAL CONCEPT
136
BWMF.WINGS
[01.01 TOPIC] SIXTY YEARS OF DESIGN-HISTORY
01/04 ENERGY
TIME - FRAME
DESIGN - SPIRIT
[01.02 PERSPECTIVE] THE VASES SHAPE DESIGNHISTORY LIKE THEY SHAPE THE WATER THEY HOLD INSIDE
[OUTPUT — 02.03] ICON SERIES TO UNITE THE VASES ON A NEUTRAL AND COMMON GROUND
03/03 EXECUTION
ANNIVERSARY C E L E B R A T I O N »BE WATER MY FRIEND« THE METHODOLOGY
ABC CLEAN TYPOGRAPHY AND TECHNICAL DESIGN-ELEMENTS [04.03 — OUTPUT]
ROSENTHAL IS NOT A CREATOR. ROSENTHAL IS A FACTORY [04.02 PERSPECTIVE]
CONCEPT 04/04 ATTRACTION
01/03 SUBSTANCE
»S&T«
02/03 POTENTIAL
02/03 POTENTIAL
[PERSPECTIVE 02.02] THE DESIGN OF A VASE SPEAKS FOR ITSELF
03/03 EXECUTION
01/03 SUBSTANCE
[01.03 — OUTPUT] CUSTOM FONT INSPIRED BY WATER AS AN ALLEGORY FOR THE FLOW OF TIME
SIXTY VASES MEET TWELVE COLORS [04.04 TOPIC]
[TOPIC 02.01] SIXTY VASES AND THEIR DESIGN
02/04 STRUCTURE
DESIGN IS KING — COLOR IS QUEEN
12-COLOR-GRADIENT COMPOSITIONS AND COLOR-GRID-INTERFACE [OUTPUT — 03.03]
NOBODY KNOWS THE COLORS. THEY NEED THEIR OWN STAGE. [PERSPECTIVE 03.02]
TECHNOLOGY 03/04 REALITY
PIGMENTED PORCELLAIN [TOPIC 03.01]
eighty beauties in black and white AGAIN AND AGAIN A.K.A. B.W.M.F. ON REPEAT [»ONE TAKE« MOST OF THE POSTERS] START AND FINISH A POSTER IN ONE RUN. BE IT IN ONE, TWO OR TWELVE HOURS UNTIL YOU HAVE REACHED THE BREAKOUT
140
BWMF.WINGS
[S] SHAPES [E] ELEMENTS [D] DISCIPLINE
[S1] CIRCLES [S2] SQUARES [S3] TRIANGLES [S4] FONTS [E1] DOTS [E2] LINES [E3] PLAINS [D1] T YPEPLAY [D2] ILLUSTRATION [D3] INFOGRAPHIC
[P.142]
[S1.S2
E2.E3
[P.143]
[S1.S4
E1.E2.E3
[P.144]
[S1.S2]
E2.E3
[P.145]
[S1.S2.S3.S4
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[P.146]
[S1
E2.E3
D1.D2]
[S2.S3.S4
[P.147]
[S1.S2.S3.S4
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D2]
[S3
[P.148]
[S1.S2.S4
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D1.D2]
[S2.S4
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[S1
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[P.182]
D2]
[S1
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[P.183]
D1.D2]
[S1.S2.S4
E2.E3
D1.D2.D3]
[P.184]
D1.D2]
[S1.S4
E2.E3
D1.D2]
[P.185]
E3
D2]
[P.186]
E3
D1]
[P.187]
E2.E3
D1.D2]
[P.188]
[P.149]
[S1.S2.S3.S4
E2.E3
D1.D3]
[S2.S3.S4
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D1.D2]
[P.189]
[P.150]
[SA .S2.S4
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D1.D2]
[S2.S4
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D2]
[P.190]
[P.151]
[S1.S2.S4
E2.E3
D3]
[P.152]
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[S2.S3.S4
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[P.153]
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[P.154]
[S2.S4
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[P.155]
[S1.S2.S3.S4
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[S1.S2.S4
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[P.195]
[P.156]
[S1.S3.S4
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[P.196]
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[S2.S3.S4
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[S2.S4
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D1.D2]
[P.197]
[P.158]
[S1.S4]
E2.E3
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[S2.S4
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[P.198]
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[S1.S2.S4
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[P.199]
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E2
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[P.191]
D1.D2]
[P.192]
E2.E3
D2]
[P.193]
E3
D2]
[P.194]
E3
[S1.S2.S3.S4
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[S1.S2.S4
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[P.161]
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[S1.S4
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[P.202]
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[S1.S2.S3.S4
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[P.203]
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[P.204]
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[S2.S3
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[P.205]
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[S1.S2.S3.S4
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D2]
[S2.S3
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D1]
[P.206]
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D1.D2]
[S1.S4
E3
D2]
[P.207]
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[S1.S2.S4
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D1]
E2.E3
D1]
[P.208]
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[S1.S2.S3.S4
E2.E3
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E3
D1.D2]
[P.209]
[P.170]
[S1.S2.S3.S4
E2.E3
D3]
[S2.S3.S4
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[P.210]
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[S1.S2.S4
[E2.E3
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[S2.S3
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[P.211]
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[S1.S2.S3.S4
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D1]
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E2.E3
D1.D2]
[S1.S2.S4
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D1.D2]
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[S1.S4
E1.E2
D1]
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E3
D1.D2]
[P.214]
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[S1.S2.S4
E2.E3
D2]
[S1.S2.S4
D1]
[P.215]
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[SA .S2
E2.E3
D1.D2]
[S1.S2.S4
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[P.216]
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[S1S2.S4
E2.E3
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[S1.S2.S3.S4
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D2]
[P.217]
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[P.218]
[P.179]
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[S1.S3.S4
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[P.180]
[S2.S3
E2.E3
D1.D2]
[P.181]
[S2.S4
E2.E3
D2]
E1.E2.E3
[S1.S2.S4 [S3.S4
E2.E3 E3
D1.D2]
[P.219]
[S4
E3
D2]
[P.220]
[S1.S2.S4
E3
D1.D2]
[P.221]
[»TRIPLE RUN« CHALLENGING POSTERS] THREE SEPARATE SESSIONS TO WORK/CREATE A POSTER A . BASIC SET UP, ROUGH SKETCH, FIRST IDEA [»SUBSTANCE«] B. PLAYFUL/GRAPHIC EXPLORATION [»POTENTIAL«] C. PICK ONE IDEA AND DO THE BREAKOUT [»EXECUTION«]
141
E1.E2.E3
80 POSTER WORKS
ON THE FLY
BE WATER MY FRIEND
154
BWMF.WINGS
155
ON THE FLY
166
ON THE FLY
167
BWMF.WINGS
174
BWMF.WINGS
175
ON THE FLY
176
BWMF.WINGS
177
ON THE FLY
178
BWMF.WINGS
179
ON THE FLY
188
BWMF.WINGS
189
ON THE FLY
194
[P.138] SEE »QUELLEN GALERIE GOES STADTPALAIS 2021«
BWMF.WINGS
195
ON THE FLY
[3000 BC] [600 BC] [1573] [1641] [1908] [1913] [1943] [1954] [1970] [1970] [1971] [1971] [1977] [1982] [1983] [1986] [1996] [2001] [2002] [2005] [2008] [2011] [2016] [2021]
»I CHING, BOOK OF CHANGES« TRANSLATED BY CARY F. BAYNES [P.002] »TAO TE CHING« BOOK BY LAO TZE [P.002] »TREE OF LIFE« BY FRANCISCUS ZILLET TUS [P.021] »MEDITATIONES DE PRIMA PHILOSOPHIA« BOOK RENÉ DESCARTES [P.029] »KYBALLION« BOOK BY WILLIAM WALKER ATKINSON [P.028] »BOHR’S SHELL MODEL« BY NIELS BOHR AND ERNEST RUTHERFORD [P.110] »DAS GLASPERLENSPIEL« BOOK BY HERMANN HESSE [P.111] »DOORS OF PERCEPTION« BOOK BY ALDOUS HUXLEY [P.018] »SWOT ANALYSIS« TEAM METHOD NOT ONLY BY ALBERT HUMPHREY [P.040] »YOU CAN GET IT IF YOU REALLY WANT« SONG BY JIMMY CLIFF [P.093] »THE LOST INTERVIEW« BRUCE LEE AT THE PIERRE BERTON SHOW [P.002] »STAIRWAY TO HEAVEN« SONG BY LED ZEPPELIN [P.044] »POWER OF TEN« FILM BY CHARLES AND RAY EAMES [P.033] »SHOULD I STAY OR SHOULD I GO« SONG BY THE CLASH [P.093] »SWEET DREAMS« SONG BY EURY THMICS [P.039] »BOIDS MODEL« ARTIFICIAL LIFE PROGRAM BY GRAIG REYNOLDS [P.041] »WANNABE« SONG BY THE SPICE GIRLS [P.026] [P.081] [P.097] »HARDER, BET TER, FASTER, STRONGER« SONG BY DAFT PUNK [P.104] »HOT IN HERRE« SONG BY NELLI [P.107] »PUSH THE BUT TON« ALBUM BY CHEMICAL BROTHERS [P.101] »FLOW« BOOK BY MIHALY CSIKSZENTMIHALYI [P.095] »IKEA EFFECT« STUDY BY MICHAEL I. NORTON OF HARVARD BUSINESS SCHOOL , DANIEL MOCHON OF YALE, AND DAN ARIELY OF DUKE [P.093] »PASSIVE FRAME THEORY: A NEW SYNTHESIS« THEORY/PAPER LED BY EZEQUIEL MORSELLA OF SAN FRANCISCO STATE UNIVERSIT Y [P.024] »BREAKOUT« POSTER-BOOK CIHAN TAMTI [P.140]
CREATIVIT Y CONNECTS THINGS, PEOPLE AND IDEAS
[SOURCES, QUOTES AND INSPIRATIONS] AS SCIENTIFIC AS IT GETS
[THANKS] ESPECIALLY BUT NOT EXCLUSIVELY
[PHOTO CREDITS] IN ORDER OF APPEARENCE . JOERN BLOHM [P.117] . JULIAN MIT TELSTÄDT [P.118] . JANN AWERVERSER [P.120/121/128 . AXEL GUNDERMANN [P.129/134] . STADTPALAIS STUT TGART, FOTO JULIA OCHS [P.130/132/133/138] . THOMAS STEPHAN [P.136/137] . RAFAEL BERNARDO [THE OTHER PICTURES]
222
BWMF.WINGS
#VCA #VIVACONAGUA #VILLAVIVA #WATERISAHUMANRIGHT #ARTCREATESWATER
lars, julia, clara, vera, david, eitel, anna, karim, axel, cihan, alex, lolo, stephan, anke, susanne, ramona, björn, jann, thomas, jonathan, steffi, ali, lena, tim, mara, michi, ola, carolin, beagle, sasa, gerwin, iris, danila, andreas, maik, ulf, othmar, konrad, rufus, franziska, sinja, amon, josh, jelena, robert, zoltan, christina, gabriele, torsten, ralf, bettina, sabine, meike, sandra, patricia, alex maria, rashnu, layla, flosn, cathrin, catherine, manuel and from the viva con agua family micha, lioba, sophie, miriam, lola, carmen, lotty, markus, casper, roul, matthias, jens and last, but not least, thank you for buying my book.
we are drops from the same ocean nobody is an island [01] [02] [03] [04]
B/BE W/WATER M/MY F/FRIEND
[02]
]1 0[
[04]
[03]
223
BE WATER …
REALISATION
. concept, content and design : rafael bernardo . publishing direction : lars harmsen, julia kahl . production management : clara weinreich . proofreading : vera-lucia gomez da silva, david dietzel and axel gundermann . image/color-management : matthias grießel PRINTER
Stober Medien GmbH Industriestraße 12 D-76344 Eggenstein www.stober-medien.de
COVER
kingdom xt-s recy white* 320g/qm [100% recycled paper by igepa] ROOTS [P.001—112]
circle volume white** 115g/qm [100% recycled paper by igepa] WINGS [P.113 —224]
circle offset premium white*** 120g/qm [100% recycled paper by igepa]
ID-Nr. 21108678
[PAPER BLOG] #SIMPLIFY
FONTS
»antarctica« and »alaska« in varius weights and »africa« in the style »rainfall« designed by new glyph [beta.newglyph.com] and »galactica bold« designed by rafael bernardo SPOT COLOR
do you feel inspired by paper and its tactile experience? make sure to check out www.selection.blog or send selection@igepagroup.com your work to get featured on the blog. * ART.NR.45727-11 ** ART.NR.12070 *** ART.NR.31071
pantone 032U
put it in the book and it becomes the book [RAFAEL BERNARDO] RAFAEL-BERNARDO.COM
AUTHOR & DESIGNER
rafael bernardo is a german-brazilian designer, lecturer, consultant and author running a studio for branding communication. in 2017 he started his creative journey »be water my friend«, which resulted in an output of various personal and collaborative projects and the development of a methodology to analyse the creative workflow of teams and individuals.
PUBLISHER
[SLANTED] SLANTED.DE
slanted publishers was founded in 2014 by lars harmsen and julia kahl. they edit and publish the award-winning blog and print magazine slanted, giving an inside view into the international and creative scene. in addition to the blog and magazine, slanted initiates and creates design-related projects and publications. NOTE
rafael bernardo t +49(0)89 90187477 www.rafael-bernardo.com touch@rafael-bernardo.com @rafael.bernardo_
slanted publishers ug (haftungsbeschränkt) nebeniusstraße 10 76137 karlsruhe t +49(0)721 85148268 info@slanted.de / slanted.de @slanted_publishers
no part of this publication may be reproduced or transmitted in any formby any means, electronic or mechanical, including photocopy or any storage and retrieval system, without permission in writing from the publisher. bibliographic information published by the deutsche nationalbibliothek. the deutsche nationalbibliothek lists this publication in the deutsche nationalbibliographie, detailed bibliographic date is available online at dnd.d-nb.de. COPYRIGHT 2021
slanted publishers, karslruhe and rafael bernardo, munich
[BWMF.BOOK] IMPRINT
224
ALL RIGHTS RESERVED
isbn: 978-3-948440-22-0
[A BOOK FOR EVERYBODY AND NOBODY]
… MY FRIEND
INTRODUCTION 1/2 BWMF.QUOTE INTRODUCTION 2/2 ROOTS AND WINGS
[ P. 0 0 1 ] [P.0 0 2] [P.0 0 3] [P.0 0 4]
[BWMF]
. . . .
[ROOTS]
CREATIVE METHODOLOGY . INTRODUCTION . BENEFITS
[P.0 0 6] [P.0 0 8]
ESSENTIALS
. WAYS OF PERCEPTION — THOUGHT AND ORDER — [»MATRIX OF REACTION«] — CLOCKWORK OF MINDSETS — LEVELS OF EXPERIENCE — [»MATRIX OF PERCEPTION«] — ZOOMING INTO INTUITION — THE INNER COMPASS . FOUR BWMF.AXIOMS . PRINCIPLES BY NUMBERS — FIRST EXAMPLE — »THE ONE« — »THE TWO« — »THE THREE« — »THE FOUR« — LAST EXAMPLE . THE RESONATOR
[ P. 0 1 2 ] [ P. 0 1 3 ] [ P. 0 1 4 ] [ P. 0 1 6 ] [ P. 0 1 8 ] [ P. 0 2 0] [ P. 0 2 2 ] [ P. 0 2 4] [ P. 0 2 6] [ P. 0 2 8 ] [ P. 0 3 1 ] [ P. 0 3 2 ] [ P. 0 3 4] [ P. 0 3 6] [ P. 0 3 8] [ P. 0 4 2 ] [P.0 4 3]
METHODOLOGY
. . . . .
INTRODUCTION THREE TOOLS »CONTEXT COLLECTOR« »HARP OF AT TRACTION« »CREATIVE CIRCLE« — THREE PHASES — FOUR THEMES — TWELVE STATIONS »INITIIATE« »UNITE« »ANALYSE« »IMAGINE« »DEFINE« »PROTOT YPE« »ELABORATE« »CONSOLIDATE« »OVERVIEW« »NAVIGATE« »PERFORM« »INSPIRE« . FOUR TRANSITIONS . SPECIAL EFFECTS . SYNTAX — SUBSTANCE — POTENTIAL — EXECUTION
[P.0 4 4] [ P.0 4 6] [ P. 0 5 2 ] [ P. 0 5 6] [ P. 0 6 6] [ P. 0 6 8] [ P. 0 6 9] [ P. 0 7 0] [P.0 8 0] [ P. 0 8 2 ] [ P. 0 8 4] [ P. 0 8 6] [P.0 9 0] [ P. 0 9 2 ] [ P. 0 9 4] [ P. 0 9 6] [ P. 1 0 0 ] [ P. 1 0 2 ] [ P. 1 0 4 ] [ P. 1 0 6 ] [ P. 0 7 1 ] [ P. 0 7 7 ] [ P. 0 7 9 ] [ P. 0 8 8] [ P. 0 9 8] [ P. 1 0 8 ]
TWO STORIES
. METAPHORIC CIRCLE . BOHR’S SHELL ALLEGORY
[ P. 0 6 2 ] [ P. 1 1 0 ]
fifty50 50fifty [WINGS]
GLUE CONTENT HERE
GRAPHIC JOURNEY . INTRODUCTION . ELEVEN WORKS ON THE ROAD . EIGHT Y POSTERS ON THE FLY . THANKS
[ P. 1 1 4 ] [ P. 1 1 6 ] [ P. 1 4 0 ] [ P. 2 2 2 ]
[IMPRINT]
[ P. 2 2 4]
BE WATER MY FRIEND
GLUE CONTENT HERE
W
F
M
[BWMF] WRITTEN BY RAFAEL BERNARDO
B
[A BOOK FOR EVERYBODY AND NOBODY]
THE WELL [I CHING HEXAGRAM NR. 48] »THE WELL FROM WHICH WATER IS DRAWN CONVEYS THE FURTHER IDEA OF AN INEXHAUSTIBLE DISPENSING OF NOURISHMENT.«
T
E R
W A
