portfolio Maria Camila Pava
Brooklyn bridge New York
Index Web 2.0 .......................................... 01 Graphic ........................................... 12 Events .............................................. 26 Product ............................................ 28 Social Work .................................... 30 Graduation Project ...................... 34
Weeeeeb 2.0
social media management • Content creator. • Community management. • Strategies and creative ideas for Social Media activities.
• statistics / community analysis / benchmark (Social Bakers - Sprout Social - Twitonomy)
KLEENEX BRASIL / LATAM www.facebook.com/KleenexBrasil www.facebook.com/KleenexLatinoamerica
2013#chilliestereo
#festereopicnic
#MartesDeMarcas
Advertising and Marketing web show YouTube: www.marterdemarcas.com Twitter: @brmBOG Facebook: www.facebook.com/martesdemarcas
ME?
Executive producer / Content creator / Social Media Manager
Agencia CASA (Grupo JWT Brasil) www.portoseguro.com.br (2012)
Floripondia moda
Web Design www.modafloripondia.com (2010)
Graphic 12
PHOTO DECOPAGE:
SX-70 Polaroids Photos and Words by Blake Sinclair This project started out as a purely technical endeavor. I wanted to mesh two dying processes into one project. Polaroid has threatened closure many times in the past so I knew the end was near. I stocked up on TimeZero and began shooting with my SX-70 camera. The different environments effected the chemicals in the Polaroid, cracking and melting the emulsion in unexpected ways. In Costa Rica the weather was very humid, which made the emulsion smear and stick. In the salt flats of the eastern Sierras, the air was cold and dry. The emulsion cracked much like the patterns formed in the mud itself. I washed the Polaroids off with tap water, wherever I was, and hung them to dry. When I got back to the lab, I printed them as Cibachromes.
Resource Magazine (New York) Summer 2010 Edition
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PARTY LIKE A PHOTOSTAR
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By Charlie Fish
Second, you’ve probably noticed while schmoozing with the shutterbugs in New York that Resource was likely at most events. And we probably had surveys with us. Pardon us for mixing statistics with drink-time pleasure, but these surveys were critical in understanding the areas of importance to both attendees and hosts of photography-related soirées and fêtes. From art openings to networking events to downright dance parties, Resource was there to find out what makes a great event. While you chatted up new connections, Resource was gathering data. While you bragged, boasted, and waxed artistic about your latest project, Resource was taking notes and calibrating enjoyment levels. Whether you’re throwing a party or simply attending one, the information below is invaluable. Want to know how the photo industry parties? Read on.
Charlie Fish: www.charliefish.info
If you’ve been to any photo-related event lately, you’ve surely noticed two things. First, there are a lot more industry events out there. This is a no-brainer. It’s also a very good thing. The flowing booze alone acts as a much-needed social lubricant to facilitate the increasingly important act of networking. Plus, with every major industry in some sort of rebirth/restructuring/renaissance, the myriad of ways to cozy up to future bigwigs can only help you. If you haven’t yet made the most of these frequent networking events and gatherings, you should just take your film camera and go back to living under a rock.
Resource Magazine (New York) Winter 2010 Edition
MISSION:
Ranexa By Elizabeth Leitzell I Artwork courtesy of Andy Glass
To create a body of water that represents both an anatomically correct and healthy heart.
Where did the idea for this image come from? What were the parameters of the ideal location? The idea was from the agency Giant, from San Francisco, for a pharmaceutical company called Ranexa. The landscape needed to be green and lush. The visual was promoting a drug that increases flow through the heart, so it had to be a positive environment, fresh and healthy. We couldn’t be shooting in a desert or a sand bank or anything like that. It needed to represent life. Other than that we were given very free range. Did you have an idea in mind of where you were going to find this landscape? The layout that Sarah Patterson, the Art Director, came up with, used originally a shot from a landscape in Sweden. We thought, “Fantastic, let’s go to Sweden.“ But there was too much snow still on the ground. Same thing with Canada and Iceland, which we also researched. We then looked at the southern hemisphere.
I work quite a lot down there with a very good production company. We ended up shooting in the Fiordland, in South Island, New Zealand. It’s a series of fiords so there are lots of sea locks and lakes. Perhaps two valleys away, or a short ten minute flight away, we found the main body of water with many, many tributaries and other rivers. They get an enormous amount of run off of water and rain. I could be wrong here but I think that they get the highest rainfall on the planet. So we knew this could be a good place. This was a huge retouching job. The original shot is the shot you have in front of you, if you take out all the water. What camera did you use? I shot on a Hasselblad with a P45+ Phase One back. Was there any trouble keeping the camera steady in the helicopter? No, none at all. We didn’t use a gyroscope. I know some people do but personally I don’t
really like them. I just like to handhold it. We were shooting quite wide, so everything was at infinity, and we had enough light. How long did shooting take? Day one was our scout day and we shot two consecutive days after that. But we were never in the air for very long. [It took time to] get to the location. We had to shoot when the sun was at its highest, but as we were in winter the sun wasn’t up for very long and didn’t get very high. How long did retouching take? The retouching took about a month. I supposed we’d done the majority of the work in about two to three weeks and the rest was really finessing. That was when it got to the client comments and when we really had to make very, very subtle, final changes. How many shots would you say are within this image? How many layers in Photoshop? That’s a really tricky question. I would say
Elizabeth Leitzell: www.edlphotography.com
M ission:
Resource Magazine (Nueva York) Edición Winter 2010
PHOTO DECO-PAGE:
Desert Studies Words and Photos by Disco Meisch
I
became fascinated by the desert’s extreme landscapes during my first visits to California’s Joshua Tree National Park and Death Valley. While I somewhat expected to see the majestic formations common of desert environments, I was most struck by the overwhelming silence that seemed to vibrate through the open expanses. The otherworldliness of this place surprised me. I am curious to investigate this suspended silence further in a new body of work that will document a seemingly passive landscape vibrating with power. I have become fascinated with exploring both the natural and supernatural elements of desert landscapes⎯including their unique flora and fauna, extreme climates and mystical associations. By their very nature, desert climates force extreme choices: basic questions of survival take priority and decisions become more clear-cut. The desert’s natural wilderness elicits stagnation and adaptation, but also an intense clarity. For
thousands of years, spiritual seekers have retreated to the isolation of the desert in search of wisdom, strength or clearer understanding. Free from worldly distractions, it seems that the desert is also a distinct place where psycho-spiritual lines blur together much like the visual phenomena of a mirage. I hope to have the opportunity to travel to many of the world’s deserts to study their diversity and how their individual characteristics influence visitors in different ways. I feel this study will be a life-long project of mine, mostly expressed through photography, but also possibly supported by sound and video installations. I also see a natural relationship between the spare, extreme physical spaces of the desert and the gallery’s white box. Through this project, I hope to translate and simulate the intensity of isolation and inspire the radical reflection that arises from silent but charged encounters.
Resource Magazine (Nueva York) Edición Winter 2010
Hotel Rio 180ยบ
Rio de Janeiro, Brasil Menu design (2011)
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Logo & Digital design (2014)
Tarjetas
ÂżquĂŠ hacemos?
dRaiz: de la Finca a la Mesa
Brand Identity and ID Cards http://draiz.tumblr.com/ (2012)
Pinz贸n Pinz贸n & Asociados Abogados NoteBook 2010 / 2011
identity
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Logotype de Trade Design
Grupo HIMALAYA S.A.C Logotype
Proyecto Piensa Colectivo Logotype
motion publicidad s.a.s Logotype
Logotype
product mobiliario Furniture exhibition system for Floripondia fashion and design to display and decorate the selling spaces of the brand. Design that allows easy transportation and storage (for fairs).
Products: Sistema mobiliario para FLORIPONDIA moda y diseño con la finalidad de exhibir y decorar los espacios de la marca,. Se diseñó teniendo en TREES HANGERS cuenta fácil/transportación y almaxenaje. Advertising MAILBOX TABLE / TRUNK Almacén Parque de la 93 - Bogotá Decor Productos:
ÁRBOLES / PERCHEROS BUZÓN DE CORREO para publicidad MESA / BAÚL Flores de DECORACIÓN para paredes
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FLORIPONDIA moda y dise単o Exhibition system and Decor for shop and fairs
events Design and Management (own project)
dRaiz is dedicated
to create entertaining experiences
through food, creativity and service. Its principle is to use high quality ingredients, maintain high standards of service and care for any and all of the customer needs.
“We believe that healthy eating is to enjoy everything in a balanced way. Food is one of the main pleasures of life and so we consider the whole process from the beginning: where does the food we eat comes from?. We make our own orchards and we support the country’s agriculture. Especially the farms that practice sustainable agriculture which is in harmony with the environment and gives a naturalness and unique intensity to food.�
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thesis
(graduation project) TRADE DESIGN is a free information platform, virtual and printed, that shares with a wide community of creatives, design lovers and trends, a passion for all things good designed. Our goal is to share what inspires us, and the results achieved with it. TRADE DESIGN magazine is a printed publication dedicated to the creative industry in Colombia, from the academy to the insdustry. It explores all facets of the industry, from the mundane to the illustrious, through interviews, designs and articles. For each edition, 10,000 copies are available for anyone in major schools of design, design stores in malls and major design events. It’s FREE, no monetary problems keeps our potential readers away. (Also published online)
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Trade Design mock-up: http://issuu.com/tradedesign/docs/revista_trade-design
Social Work Special Olympics Organization works on achieving social inclusion for people with intellectual disabilities, through sport. CRE8 Foundation is focused on promoting creativity in children from different parts of the world through activities and projects focused on allowing children to express themselves and create freely. INFANTIS SANUM Foundation’s mission is to restore hope of recovery in a sick child and his family through a sense of gratitude to life.
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www.facebook.com/SpecialOlympicsColombia
@SOColombia #LaCampa単aMas GrandeDeColombia
As a volunteer for Special Olympics Colombia, I did: - Volunteers Coordination. - Social Media Management in special events. (Twitter, Facebook, Photos). - Public speaking for volunteers recruitment. - Athletes chaperone.
Workshop Leader in:
“H
ere at CRE8, one of our primary goals is to find new and exciting ways to empower and unite kids around the world through collaborative art. With The Most Realistic Alien—one of our most popular project concepts to date—we feel the potential for success is truly “out of this world”, and we are excited to tell you more about it and invite you to be a part of it. The project is, of course, intentionally absurd. No one has any idea what an alien looks like—certainly not a realistic one, let alone the most realistic one. The idea of the project is to challenge participants to shed preconceived notions and have fun exploring an obvious paradox. By introducing the project in the form of a contest, we rely on competitive spirit to drive each participant further and further into an abstract and artistically fruitful chase to attain the unattainable. As with everything we do at CRE8, we hope to inspire creative thinking and welcome all creative responses.”
Favelas Cantagalo y Pavao Pavonsinho Rio de Janeiro - Brasil
Maragogi, Brasil
COMMUNICATION CAMPAIGN
INFANTIS SANUM Foundation
The
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Call me + (57) 3185300705 or e-mail me macapava@gmail.com Tnx! Ma. Camila Pava
Brooklyn, New York