"Reynolds and Reyner our philosophy is rooted in the true power of design. We believe it is less about making high quality brand experiences and more about the process at which we engage in, to create a real relationship between our brands and their consumers." — Reynolds and Reyner
Waldo Trommler Paints
The brightest brand of paints
In 2011 Reynolds and Reyner finished two huge projects redesigning international brands of paints. After that they were asked to develop a new visual identity for a small Finnish company which was planning to enter the U.S. market. Without the past, unlike the majority of existing brands in the segment, but believing in the future, the key to access the market was a package design. “We don’t just need - we must! stand out” - this phrase has become the basis at work on a new brand identity.
How to create a brand that stands out? We need to find the design solution that hasn’t been used by any of the competitors. At the same time showing the main features of the company - friendliness, quality and innovation. WTP is not just a manufacturer of paints - it’s an assistant, always ready to help, suggest and defend from the hassles and problems. Repairs with WTP is simple, convenient and fast and this is what in it’s simple design.
No doubt, WTP is the most friendly and remarkable brand of paints on the shelf now. WTP has no corporate colors - it have the corporate identity, common for each design element - from business cards to packaging. Every item is bright and memorable combination of colors and objects that all together form whole the entire brand. The next step is to prove that the product is as high quality as its outer shell. But this is another story.
"I capture snowflakes at open balcony of my house, mostly on glass surface, lighted by LED flashlight from opposite side of glass, and sometimes in natural light, using dark woollen fabrics as background." — Alexey Kljatov
"This is post-processed snowflakes, cropped from full 12mp shots, mix from 2009-2013 years. Usually i add to them artificial colours, because original shots almost monochromatic and looks not appealing. Some snowflakes captured in standard macro mode, others with Helios 44 add-on"
"On a floor of a balcony I put the turned stool (legs up), on them - a glass plate. Previously, i shoot using Canon A650’s standard macro mode. For this, from a small plastic bottle I cut central cylindrical part in the form of a tube (height 5.5 cm). This height I picked up so that the lens of the camera, pushed in a tube, will be at distance 1 centimetre from the bottom (this is minimum focusing distance of Canon A650 in macro mode). I just put this cylinder with the camera’s lens within it over the chosen snowflake, the lens looks vertically down. For steady shots, i shoot in small series with starting delay 1-2 seconds after focusing, taking away my hands off the camera. With free hand i illuminate snowflake with flashlight from under the glass. The flashlight shines through two layers of white plastic bag for more uniform lighting. This is enough for shooting even at night with minimum ISO and short exposure time.
Recently, i built simple macro add-on for the camera. I used lens Helios 44M-5 from old USSR SLR camera Zenit (here is short description in wikipedia). At first, i attached these lens at narrow wooden board (around 30 cm long), reversed: a back lens to snowflake, front lens to camera, and drilled in a board an opening for a screw suitable to tripod nest of the camera. Then camera is put on a board so that the lens in the maximum optical zoom mode (6x) touched Helios lens and looked straight into them. I attach the camera by a screw and additionally with metallic bracket, glued to the board, it holds opposite side of camera, so it didn’t move anywhere. On Helios’s back side (which is front of whole construction) i attached three standard narrow extension rings from Zenit camera (this is needed only in case of shooting at glass surface with backlight). This holds lens at needed focusing distance from the glass with snowflakes (2,5-3 centimetres). Place of connection between internal and external lens i covered with some sort of skirt, made from black plastic bag: this protects connection point from outer light, snow, ice and water drops. All design turned out rather strong and steadily stands vertically with lenses looking down. I simply put it on glass over the chosen snowflake and shoot at maximum optical zoom instead of macro mode. Camera’s autofocus works well.”
Helios magnifying part of pen: