Saturday, May 26, 2012

PAESTUM - EDWIN DENBY

Buffalo among fields, an old bus, the sea
Rock hills grow small beyond a somnolent plain
Jacket folded placed near the bole of a tree  
Between a jug stood and a wrapped package lain
In the sweet alyssum and its honey smell
Noon-immobile, grey and ochre-hued like dawning
Of edged stone pocked by sea storms and shells of snails
Poseidon’s hall looms columned; I watch dozing
Merged like opposed wrestlers rear a majestic power
Clasped nape, nipple deep-chested, the crushing roof
Heaved; magnanimous the god rises toward me; prayer
Begins to spread me, trembles unused to proof;
But by sunset fired against a cloudbank of slate
And deserted, the temple burns isolate

Sunday, May 20, 2012

VESUVINUM

Brands have been part of human trading activities for a long time. Starting with the appearance of certified money, the first modern branding traces were seen on "Vesuvinum" wine jars found at Pompeii (dated 79 AD). The “Brand” word itself came from cattle marking through “burning” the animals’ skin to mark the producers’ownership, which then evolved to legal trademarking during the industrial revolution.
Brands have then constantly evolved to deliver valuable customer benefits through a known brand indentity which could be decomposed as its distinctive name, unique visual expression (or look), and character (orvalues).
In the early days, brands incarnated both a promise and a personality like any person would have, and theyactually had a real face behind their name. It was often the founder and owner of the business, and people could relate to that person who transmitted his own values to the brand that was in fact a proxy to himself. Brand had therefore necessarily a social dimension with a sense of proximity.

Tuesday, May 1, 2012

LISEL OPPEL

Lisel Oppel (b. 14 October 1897 in Bremen; d. 11 July 1960 in Bremen) was a painter and ceramicist. In the course of many travels that took her far afield of her adopted home town Worpswede, she became a very cosmopolitan artist. Freedom and independence were more important to her than a secure life dictated by convention.
Oppel put up with a number of disadvantages for the sake of her independence. During the National Socialist era, for example, she refused to become a member of the Reich Chamber of Culture and thus relinquished the right to receive coupons for painting utensils. She also courageously took on the challenge of caring for her son without giving up her art. Lisel Oppel spent a number of years in Italy. In a pottery workshop in Vietri sul Mare near Positano, she learned the ceramics craft, which became her second professional mainstay. In the 1950s she also travelled to Spain, Morocco and Egypt to paint.