Search results for: innovation / CHANGE
by Tim Girvin | Brands, Cool People, Human brands | Apr 21, 2021
It was in our NYC office, a half day session of exploration with Jamie Kern, a discussion of the principles, design direction and attitudinal strategies of a new brand, founded on a shoestring, IT Cosmetics. What was then, thrives now. Jamie at GIRVINYC In our... Read More
by Tim Girvin | Brands | May 13, 2020
THE REPETITION OF DESIGN AND SYMBOLICAL PATTERNING: ALLEGORICAL BRAND DESIGN. IN THE EXPLORATION OF THE DESIGN, PRINCIPLES OF EXPRESSION AND THEIR TRANSLATION OF IDEAS, THERE ARE PATTERNS THAT EMERGE. In the journey of the work, the act of designing—that is, the... Read More
by Tim Girvin | Concepts, Storytelling | Oct 30, 2019
THE BRANDQUEST® FOR AMAZEMENT Isn’t it so that we’re all looking for wonderment—that state of surprise and amazement? I was talking to my father about my work—“why are you still doing it?” He retired one year before the age that I am now. I told him that “I’m looking... Read More
by Tim Girvin | BRAND MYSTICISM, Concepts | Jul 11, 2018
YES, THAT’S YOU: NOTHING, ERASED, WASHED-CLEAN, THE PROVERBIAL BLANK SLATE? I found this twice, two objects that were mysteriously titled: “intentionally blank.” First time in a hospital room. Then another in another in a different place. “Intentionally blank.” What... Read More
by Tim Girvin | Brands, Motion Pictures, Places, Storytelling | Apr 19, 2018
EXPLORING INDUSTRIAL DESIGN AND ENTERTAINMENT — HOW IS A STORY DESIGNED? Do you even know about this show? — [Image above from Netflix] You’re probably too young to even recall it, but when I was younger, “Danger, Danger, Will Robinson,” was one of my favorites lines.... Read More
by Tim Girvin | BRAND MYSTICISM | Apr 4, 2018
THE *EXPERIENTIALITY OF SENSATION IN THE AESTHETICS OF AGING AND BEAUTY When I was younger, I had a proclivity for rust. I liked walking on rough, more than smooth. I liked floors that were worn-down and made of aggregated materials. I admired sand-blasted things. I... Read More
