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Force Ten Design
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“Tree for Two”

Just a couple of penguins admiring a palm tree…on a vintage television set… powered by some unknown means. That‘s about it.

Really, that’s all!

© 2017 Chris Pavlik/Force Ten Design. All rights reserved.

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“Opening Bell 2017”

Calgary Stampede event poster created for an energy IT firm featuring a bucking bull to represent a bullish economy and a pipeline as a symbol of the hard assets of oil and gas companies that use the company’s software.

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“Sister Station”

Here we find two sisters (both cousins of mine) standing alongside a dilapidated telephone booth in an abandoned factory powered by a distant windmill. The booth—by way of its weathered appearance and continued functionality—represents an enduring mutual sense/point of identity, connection and communication between the two women through the years. Likewise, the windmill symbolizes a shared landmark of identity given that just such a structure comprises a prominent historical feature of the town in which they were born (Steinbach, Manitoba). The narrative of the concept takes on an added sense of curiosity given that one of the two women is smiling with a welcoming air, while the other purveys a sense of caution and mystery. One can very well imagine the uncertainty to be had on the part of some unwitting traveler who happens upon the scene and tries to divine the booth’s purpose as either an instrument of pleasure or peril by way of the diametrically-distinct dispositions of its guardians. The “serial number” stenciled on the right door is triply-significant as it denotes the telephone exchange code for Steinbach and the birth years of each sibling with “66” (i.e., “1966”) expressed as a squared exponent. Also, posted to the doors of the factory are pictures of the two women as adolescents for an added touch of nostalgia. Finally, the location of the scene in a field beneath a stormy prairie sky speaks to the rural location of the sisters’ upbringing and describes a siblingship able to withstand all manner of adversity at any point in their lives: a nuance of confidence, stability, and security further accentuated by the enigmatic expressions of serenity on their faces.

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“Acid Reign”

Two young souls look upon each other as curious species in an effort to appreciate and understand the consequence of preserving the fragile balance between progress and nature. The young girl behind the glass wonders how anyone might endure such a toxic and dystopian existence while her counterpart imagines the pleasure of a life unencumbered by waste suits and the constant fear of her environment. The image highlights the fundamental difference between living and existing and asks that we contemplate just what it is we are doing to the world around us, and how our actions—large or small, good or bad—will either preserve and expand the happiness and bounty of our lives, or constrict it by hastening our mortality, and that of every other living thing on the planet.

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“Canada, Mexico, and Trade”

Editorial magazine cover image created for purposes of illustrating Canada’s intention/strategy to mitigate and circumvent potentially negative repercussions arising from US policies pertaining to trade with Mexico (represented by the stormy, "split" background.)

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“TEXPERS 2017 Conference”

Poster/program concept for a conference about in long-term financial planning featuring balloons and clouds to emphasize free vision, innovation, and optimism.
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"Soap and Play”

Holiday greeting card graphic created for a local residential cleaning company featuring a jaunty snowman made out of bubbles (hence the wordplay on "soap and sleigh.") Bit of tongue and cheek as well where the coal is concerned given its decidedly antithetical posture to that of cleanliness.
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"Dear Leigh, Departed"

A young woman traveler surveils a barren landscape wearing a curious, contemplative (if not wholly surreal) air of relaxed satisfaction whilst the plane that brought her there sails off to another destination. Is she fulfilling some lifelong pursuit of adventure and solitude? Is it a wish-fulfillment dreamscape depicting a long-awaited liberation from the manacles of an abusive relationship? Or is she in fact some antichrist-like figure scouting out a new territory in which to establish a fresh hell on Earth? The caption itself maintains boasts an enigmatic property along these lines. For example, it could be taken as the opening line of a goodbye letter, a reference to her death, or a simple statement of mind in the context of sanity or hysteria. Whatever the suggestion in terms of optics and title, our subject seems pleased with her surroundings to our ultimate curiosity: points of interest that seemingly render us all the more curious to ourselves. Also, those keen of eye will notice that the serial number on the plane (CUL8TR) reads phonetically as “see you later”: a last jab sentiment shared by our subject when it comes to the abandonment of her past.
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“High Hopes”

Here, a young girl suspends herself high above the Earth by way of a favoured playground amusement. Aloft in the carefree, boundless, and rarified atmosphere of childhood, she surveys the horizon of her future; secure and buoyed by the love and enthusiasm of those who have her best interests at heart. The illustration—and its message—is made that much more enigmatic by way of an optical illusion that sees the nearer pole of the monkey bar appear further off in the distance: a flair for the impossible so seemingly appreciable and accessible to the young…and sometimes so irrevocably lost to the wages and woes of adulthood.
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“Dispatch Armada”

Waist-deep in (and inundated by) bottled messages from parts unknown; yours truly inspects the contents one such capsule set afloat by some familiar or mysterious hand. Are they notes of endearment, forgotten memories, karma, love, hatred, introduction, revival, acceptance, rejection, accolades, criticism, acceptance, or just seagoing spam boasting offers of no interest? Who knows?

#graphicdesign #message #dreams #surrealism  
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