BENJAMIN SCHWAB portfolio: PRINT / DIGITAL - PRINT _1 TEXTILES SCRAP BOX _2 CSM BA TEXTILES 2010 - beno/san
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BENJAMIN SCHWAB portfolio: PRINT / DIGITAL PRINT _1 TEXTILES SCRAP BOX _2 CSM BA TEXTILES 2010 _3 GRAND OPERA HOUSE _4 PERFECT NOW _5 IS THE MIND A MUSCLE?
TEXTILES SCRAP BOX Printed promotional material London, 2010 _A6 fold-out Concept & design. Commissioned by Central Saint Martins in conjunction with the V&A.
CENTRAL SAINT MARTINS BA TEXTILES 2010 Graduate catalogue London, 2010 _96pp _Soft back cover _Perfect bound Concept & design. Commissioned by Central Saint Martins BA Textiles.
Les Noces De
Les Noces De
GRAND OPERA HOUSE
Identity
Geneva, Switzerland Figaro | WOLFGANG AMADEUS MOZART
Mise en scène - Hytner Nicholas
Avec le participation de l’Orchestre de la Suisse Romande
12/16.01
Figaro |
Jan 2009 Avec le soutien de la Fondation Hans Wilsdorf
WOLFGANG AMADEUS MOZART
21h 30
Partenaires de projets - Fondation Valeria Rossi di Montelera, Fondation
Ferrier Lullin, BNP Paribas (Suisse) et Crédit Agricole Indosuez (Suisse)
Partenaires de saison - Credit Suisse Private Banking, MCI Group, Generali
Assurances et Swisscom Enterprise Solutions 18.01 09 14h 30
_Production poster
_Poster layout variations Mise en scène - Hytner Nicholas
Avec le participation de l’Orchestre de la Suisse Romande
Pitched in collaboration with
Vickyh agency for the new
visual identity. Concept and
design of logotype, printed
promotional material (season
and production posters),
creation of guidelines for
imagary usage and house
stationary suite.
12/16.01 21h 30
18.01 09 21h 30
Avec le soutien de la Fondation Hans Wilsdorf
Partenaires de projets - Fondation Valeria Rossi di
Montelera, Fondation Ferrier Lullin, BNP Paribas (Suisse) et
Crédit Agricole Indosuez (Suisse)
Partenaires de saison - Credit Suisse Private Banking, MCI
Group, Generali Assurances et Swisscom Enterprise Solutions
www.geneveopera.ch| Le Grand Théâtre de Genève , 11 Boulevard du Théâtre, 1211 Genève 11
www.geneveopera.ch| Le Grand Théâtre de Genève , 11 Boulevard du Théâtre, 1211 Genève 11
GRAND OPERA HOUSE
Identity
Geneva, Switzerland
| OPERA |
Jan 2009
7/30.10 08
Der Freischütz | CARL MARIA von WEBER
_Season poster (back/front) Direction musicale - John Nelson
Mise en scène - Olivier Py
_Folded mail-out 14.10/6.11 08
La Damnation De Faust | HECTOR BERLIOZ
Direction musicale - John Nelson
Pitched in collaboration with Mise en scène - Olivier Py
Vickyh agency for the new 1/18.12 08
Les Contes d’Hoffmann | JACQUES BACH
visual identity. Concept and Direction musicale - Patrick Davin
Mise en scène - Olivier Py
design of logotype, printed
7/30.10 08
promotional material (season Der Freischütz | CARL MARIA von WEBER
Direction musicale - John Nelson
and production posters), Mise en scène - Olivier Py
creation of guidelines for 14.10/6.11 08
La Damnation De Faust | HECTOR BERLIOZ
imagary usage and house Direction musicale - John Nelson
Mise en scène - Olivier Py
stationary suite.
1/18.12 08
Les Contes d’Hoffmann | JACQUES BACH
Direction musicale - Patrick Davin
Mise en scène - Olivier Py
7/30.10 08
Der Freischütz | CARL MARIA von WEBER
Direction musicale - John Nelson
Mise en scène - Olivier Py
| DANSE |
| SEASON 08/09 |
14.10/6.11 08
La Damnation De Faust | HECTOR BERLIOZ
Direction musicale - John Nelson
Mise en scène - Olivier Py
1/18.12 08
Les Contes d’Hoffmann | JACQUES BACH
Direction musicale - Patrick Davin
Mise en scène - Olivier Py
7/30.10 08
Der Freischütz | CARL MARIA von WEBER
Direction musicale - John Nelson
Mise en scène - Olivier Py
14.10/6.11 08
La Damnation De Faust | HECTOR BERLIOZ
Direction musicale - John Nelson
Mise en scène - Olivier Py
1/18.12 08
Les Contes d’Hoffmann | JACQUES BACH
Direction musicale - Patrick Davin
Mise en scène - Olivier Py
7/30.10 08
Der Freischütz | CARL MARIA von WEBER
Direction musicale - John Nelson
Mise en scène - Olivier Py
| RéCITAL & CONCERT |
14.10/6.11 08
www.geneveopera.ch | 00 41 (0) 22 418 30 00
Seat _
La Damnation De Faust | HECTOR BERLIOZ
Direction musicale - John Nelson
Mise en scène - Olivier Py Le Grand Théâtre de Genève , 11 Boulevard du Théâtre, 1211 Genève 11
1/18.12 08
Les Contes d’Hoffmann | JACQUES BACH
Direction musicale - Patrick Davin
Mise en scène - Olivier Py
Row _
7/30.10 08
Der Freischütz | CARL MARIA von WEBER
Direction musicale - John Nelson
Mise en scène - Olivier Py
Block _
14.10/6.11 08
La Damnation De Faust | HECTOR BERLIOZ
Direction musicale - John Nelson
Mise en scène - Olivier Py
PERFECT NOW Fashion Photography Book London, Feb 2009 _21 × 25 cm _192 pp _Hard back cover _Section sewn binding Art direction, design and print production. Commissioned by fashion journalist, Oliver Arlt.
PERFECT NOW Fashion Photography Book London, Feb 2009 _21 × 25 cm _192 pp _Hard back cover _Section sewn binding Art direction, design and print production. Commissioned by fashion journalist, Oliver Arlt.
IS THE MIND A MUSCLE?
Core publication
MA Central Saint Martins
London, 2008
_29.7 × 36.7 cm
_161 pp
_Hard back cover
_Section sewn binding
Book exploring a series
of investigations into the
functions of memory,
specifically in relation to
the face.
Sarah Muehlheim Sarah Muehlheim
Front view outline Profile view outline
Scale [1:1] Scale [1:1]
if it were Alice in Wonderland’s Cheshire Cat, which, It is the overall effect, which distinguishes your face
when it disappeared, left only its smile behind. The from others around you. One or more of your indi-
difficulty of registering and describing facial shape vidual features might, however, be likened to those
is at the root of most problems of identification. A in a multitude of other faces. That is to say, your
worthwhile description of any object, animate or high-bridged out jutting nose might be identified,
inanimate, must include basic shape, contours and like a recurring motif, on faces (otherwise unalike)
proportions. Yet most people neither know how to all over the world; similarly, your particular shape
‘take in’ all essentials of a face, nor how to state of full-lipped or thin-lipped mouth, or your deep-set
precisely what the face looks like as a picture or a narrow eyes. You hold no monopoly over the shape
design rather than an idea. 10 It is as if in describing of any one of your features; you may be sure that 10 Difficulties in registering and
a house they were uncertain about the shape and it will crop up times without number on other faces recalling faces as people remem-
the composition of the whole building, the position- which, therefore, must bear some slight or marked ber them as an idea rather than a
ing of windows and doors and slope of roof; all resemblance to yours. Your face may appear unique piece of design (‘charming’ instead
these facts are left to the enquirer’s imagination. The because it is made up from one set of permutations of deep-set and dark eyes).
house might be described as ’charming’, or ‘full of and combinations from an infinite range of possibili-
character’ or ‘old-world’ – but what in its shape and ties in the assembly of feature shapes. 13 11 The only reliable criterion in face
proportions makes it any of these things? And how registration and recollection lies in
could a stranger, with his own ideas about ‘charm- a better observation of faces out-
ing’ and ‘character’ find this one house among doz- lines and their specific features.
ens in the district of his search? Any description of
a face, which does not take shape into account, can 12 The slightest change in the
be equally unhelpful or misleading. The only reliable combination of a face’s features
clues to facial identity are to be found in the basic can change completely the overall
formation, first of the face-outline as a whole, then look of the face.
of its separate part. 11
13
The uniqueness of faces lies
A face can lack resemblance to another when only essentialy in the combination
one feature is of a different pattern, the chin or the and permutation of its features
jaw perhaps, or (in profiles) the slope of the fore- and not on any feature itself. No
head, or the curve, length or breadth of the nasal feature is unique.
ridge. Any such single difference changes the effect
on our eye of the whole composition. 12 In the kinder-
garten child’s experimental attempts to sketch a face
the alteration in contour or positioning of just one of
its eyes-nose-mouth or outer-line lines make a subtly
5.72 or strikingly different picture. Consider, for instance,
your own face whose ‘stamp’ is the result of one
particular combination of separate feature shapes.
46
10.7
3.25
FACIAL PROPORTIONS
Throughout the three type-patterns, the size of indi- Subjects face outline and features measurements:
vidual features may vary considerably; the forehead Scale [1:1] - Unit: cm 0.92 2.59
may be high or low, broad or constricted; the nose 3
in
e
ce
may be large or small, long or short; the mouth may
hé
ne
am
ria
ie
se
tin
en
h
re
ot
oi
ph
to
ra
nj
ui
ar
or
ai
or
nt
be wide or narrow. While size is not of much conse-
c
So
Be
Sa
Lo
5.79
Cl
M
Vi
Fl
A
D
quence in the recognition of the overall facial frame
or type, it is a most necessary consideration when Face outline length: 23.6 23 21.9 22.2 20.3 22.6 23.5 22.4 21.2 22.8
remembering and describing a face in detail within
3.07
one of the three type-groups. 6 For instance, two 6 Variation of the features size
Face outline width: 13.5 13.2 13.9 13.4 12.8 14.5 13.2 13.7 13.2 15.1
Angular faces (while having a general type resem- within the 3 face pattern types.
blance) will be unalike if the nose of one is a short Importance of size to acquire a Forehead length: 5.15 5.48 5.43 5.72 5.57 6.42 5.6 5.4 5.87 5.87
‘beak’ and the other a down-drooping ‘hook’, and better understanding of the
two Rounded faces will lack any apparent resem- face proportions. 11.8 11.3 11.3 1.31
Eyebrows width 10.7 10.3 11.6 11.3 11.4 10.6 12.3
blance if the chin of one is large and wide and the
other small and narrow. 7 Blueprint of the proportions of a
Space between eyebrows: 2.26 2.7 2.58 3.25 2.3 2.72 2.8 2.5 2.22 2.33 5.05 22.2
Concerning size, it is helpful to have one set of normal face front-view. Gauge that
standards or face-measures by which to judge gives indications on the propor- Eyes width: 3.11 3.03 2.83 3 2.72 3 3 3.34 2.86 2.96 1.77
whether a feature is ‘large’ or ‘small’ (or ‘long’ or tions of the features within the
‘short’) – that is, in relation to the area of the face it facial frame. Eyes openness: 1.17 1.21 1.34 0.92 1.06 1.13 1.2 1.11 1 0.7
appears on. The face front-view divides naturally into
section, which form a blueprint of normal propor- Space between eyes: 3 3.03 3.25 2.59 2.86 2.82 3.4 2.96 3 3.28 3
tions: the face would be divided in four equal parts,
which are from the top of the head to normal hairline; Nose Length: 6.1 6.2 6.17 5.79 5.54 5.86 6.14 5.82 5.08 6.13
hairline to brows; brows to the bottom of the nose;
bottom of the nose to the base of the chin. 7 Such per- Nose width: 3.92 3.4 3.14 3.07 3.03 4 3.53 3.07 3.76 4.4
fection in the facial balance gives us a gauge, which
helps us to describe the proportions of any face, Space between nose-mouth: 1.91 1.74 1.27 1.31 1.31 1.48 1.38 1.16 1.53 2 13.4
whatever its type or front-view framework. We know
from this gauge that, for instance, the space between Mouth width: 4.66 4.94 4.8 5.05 4.27 5.33 5.12 5.09 5.13 6.3
‘wide-apart’ eyes is greater than the width of one
eye; and that the space separating eyes, which are Mouth thickness: 2 1.41 2.43 1.77 1.98 1.83 1.62 1.8 1.75 0.85
‘close-together’ is less than one eye’s width. What
we describe as a ‘large’ mouth measure more than Chin length: 3.03 3 2.75 3 3.07 3.78 3.28 3.07 3.28 4.76
one-third of the facial width, and a ‘small’ mouth less
than a one-third. In four heads of the same overall
size, there can be a number of kinds of facial ‘non- Victoria Goeldlin
balance’. Obviously the greater the area occupied by Face outline and features measurements
any one section, the smaller the area will be left to Scale [1:1] - Unit: cm
32
IS THE MIND A MUSCLE?
Set of two books
MA Central Saint Martins
London, 2008
1. Recalling Features
_14 × 20 × 110 cm
_96 pp
_Soft back cover
_Section Sewn binding
_Fold-out book
2. Recalling Louise
_14 × 20 cm
_96 pp
_Hard back cover
_Section Sewn binding
Books documenting two
different experiments
about recalling faces.
The difficulty in recalling
relatives or friends lies in the
fact that we don’t know those
people through one image but
Eyes AP: [4h03’25’’] Its funny because those first eyes you picked
were very much that shape number 1, but actually her eyes
Falshface vs EFIT don’t come down they go up, but actually that very first
Hairstyle
picture looked like that, but maybe in a way the hair style is
slightly better even though it’s not got the length and because
you don’t have any of the detail around here. It works in your
through a whole lifetime of
Basic system favour or not because without seeing any detail it takes away
things like age. It gives you the very basic shapes to go on. pictures imprinted in our mind..
BS: [4h04’08’’] But it allows you to be more open.
DC Anne Parry
Police Artist. Facial Identification Unit.
AP: [4h04’20’’] Which is why we don’t like the new system
The Metropolitan Police, London.
it’ll end up looking to perfect. The least amount of detail you
see in some respect is better then you can actually interpret it
yourself as a person. The face shape is actually not that bad
when you take away the fact that her hair is covering a lot of
her face down the bottom. She’s looking down slightly there.
BS: [4h05’07’’] And it’s hard because I know that when I was
Open mouth taking the picture, I remember her mouth was open. And then
I said, “can you close your mouth”… But it’s not really her.
Result AP: [4h05’25’’] But well done. I think you got a pretty good
likeness there.
Cognitive Interview of Benjamin held by DC Anne Parry.
EFIT of Louise Roy, one of Benjamin closest friend.
The Metropolitan Police, London, 15.03.2008.
IS THE MIND A MUSCLE? MA Central Saint Martins London, 2008 _Strip: 32 × 100 cm _Portraits: 49 × 57.2 cm Wall space during the exhibition of the project. _Journey of 4 peolpe trying to recall the face of the same person from memory. _Antoine from memory by Benjamin using Flashface. _Louise from memory by Benjamin with the help of DC Anne Parry, Scotland Yard, London.
BENJAMIN SCHWAB
portfolio: PRINT / DIGITAL
DIGITAL
_6 ABOUT US
_7 VICKYH DESTINATIONS
_8 CLARIDGE’S, THE BERKELEY
& CONNAUGHT HOTELS
_9 LANGHAM HOTEL LONDONABOUT US
Digital book
Geneva, Switzerland, 2008
_Flash
_40pp
Concept and design.
Commissioned by Vickyh
agency to represent the
origins, ethos and evolution
of the company.
{Vicky}
{nous}
{Vickyh} est une aventure sous le signe de
la {rencontre} et du {voyages}. C’est aussi
l’histoire d’une femme...VICKYH DESTINATIONS Branded content site Geneva, Switzerland _HTML micro site Concept, design and build. Commissioned by Vickyh destinations for their wedding service.
NEWSLETTERS for Claridge’s, The Berkeley & Connaught Hotels Seasonal Online Newsletters London, 2009 Concept and design. Commissioned by digital agency LabelV. Websites designed to reflect the exclusive and luxurious services and environment of ‘The Claridge’s’, ‘The Berkeley’ and ‘The Connaught’. Hotels, which are part of The Maybourne Hotel Group, London.
THE LANGHAM LONDON Branded content site www.beautyawakens2009.com London, 2008 _Consulted with web-programmer to realise Flash website. _Short introduction video Concept and design. Commissioned by digital agency LabelV. Website designed to reflect the exclusive and luxurious environment of The Langham Hotel, London.
BENJAMIN SCHWAB portfolio: PRINT / DIGITAL 13b Albion Drive E8 4LX, London, UK Email beno@benosan.ch Mobile +447842 903 034 Website www.benosan.ch Studio www.wedrawlines.com
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