Pattern Pulp

Making Music Videos with Lesley Morphy




Here are a few behind the scenes shots of Lesley‘s recent music projects. As you can see she’s gotten extremely creative with lighting and malleable materials such as paint, tape, spray paint and stencils.

Creating kinetic energy through use of line and a tight budget for Khia’s Been a Bad Girl video set, Morphy advises, “I remind myself there’s always a way to make something out of nothing.  It’s at this point I see what household goods can realize my vision. I look for two things: 1) tangible malleable materials, and 2) inexpensive materials that can create form and color. A trip to home depot proves very inspirational!”

When asked about her approach and the cardinal rules, Morphy says, “First I go through all my dog-eared magazines and folders (I’m constantly dropping imagines that inspire any kind of emotion into an “inspiration” folder), and I watch a few favorite videos – but as a general rule, I try not to look to the same medium when I’m looking for inspiration.”

“I look for inspiration aimlessly, and just soak it in.  Initially I don’t focus on what I’m looking for and why. By osmosis you always take in more than you think.” The above work is for Chris Brown & Juelz.

“I never negate how important the director’s vision is, but I’m not scared to make it better.  And I always remember the lighting-man is my friend- my very, very good friend. You need to team up with the lighting designer and make sure he or she is on board with all your ideas.”

“At the end of the day, you can have the most beautiful set, but if it isn’t lit properly, you’re not going to pull it off. ”

Coverage by Lesley Morphy

 

May 9, 2012 | By: Shayna Kulik

Patterns & Branding at the Arizona Biltmore




Last weekend my friends and I packed our bags- from various parts of the world and headed to Phoenix, Arizona to celebrate the wedding of one of our dearest friends who’s currently living in London.

Upon arrival at our hotel, the intricately designed Arizona Biltmore, Lily, the bride, exclaimed (as many friends and family members do these days), “this hotel’s perfect for Pattern Pulp!”

She was right. The deco pattern motifs were quite literally, everywhere.

Frank Lloyd Wright in collaboration with Albert Chase McArthur were responsible for the masonry “Textile Block” construction which was implemented throughout the hotel and grounds in 1928.

From cement blocks to geometric carpeting, to back-lit lighting, landscaping and interior furniture, the deco theme transports you to old-world Hollywood, emitting a mood of what LA or Las Vegas may have been like in the 30’s, 40’s and 50’s.

Barely using their typographic logo, you know the vibe of the hotel. The surface design and architecture cooperate in telling the story of a unique destination beyond the cookie-cutter expectations of a chain resort.

Large, expansive grounds allow for privacy, quiet pools are hidden behind cacti gardens and a wall devoted to presidential photos reveals the extensive history that’s walked the halls.

Looping back to the mission of the trip, it was such a treat to escape the east coast for a warmer climate, overdue reunion and tremendous celebration.

Here’s an instagram of pre-pool time on game day. I hadn’t been in a pool since July. I was excited, to say the least.

And with that, I’ll also admit that I’m officially old. I preferred the adult pool, where people read, veg and don’t twist down slides.

This little (or rather big) number made it’s way out of storage. Stains, holes and all, it’s still my favorite summer dress.

And finally, a few shots of the ladies (if you’re interested) from Shabbat dinner.

And a glammed-up wedding night. Have you been to Arizona? What do you think?

 

March 5, 2012 | By: Shayna Kulik

Set Design: Puma's Olympic Wear Preview




We’ve got a huge treat for you today! Lesley Morphy recently worked on the PUMA International press launch for PUMA Cedella Marley (Bob Marley’s daughter) Olympic Wear Collection. The coverage on the collection will run this summer, but Lesley’s been kind enough to share the creative process behind the fashion show and set design with all of us.

PP: So tell me about the project…

LM: PUMA International PR hosted a global press launch for long-lead international fashion, lifestyle magazines. Editors from top-tier magazines were invited to preview the PUMA Cedella Marley (Bob Marley’s daughter) Olympic Wear Collection.

It included a fashion show, had an open bar and was catered by Miss Lily’s and the music was hand selected by the Marleys and played by one of New York’s hottest DJ’s: Queen Majesty.

PP: The assignment?

LM: To design a Jamaican inspired fashion show, clothing display, dj booth and time line as well as create a Jamaican vibe in an a New York Studio space.

PP: How did you solve it?

LM: I embraced the three colors of the Jamaican flag and did a lot of research on Jamaica. I gravitated towards woods, corrugated metals, graffiti. I also took graphics from the fashion line and applied them to the event space by using decals.

The client (PUMA) wanted to tell the story of its longstanding relationship with Jamaica, and I wanted to approach this in a unique way – so we took old reclaimed woods and built crates and graffitied them with facts about PUMA and Jamaica. We wheat pasted all the imagery. It was a unique way to tell a story and stay true to the concept, I really wanted to stay away from traditional boring boards.

PP: What did you find challenging about the assignment?

LM: The big challenge, as always, was time and money. Cedella Marley came for her walk through an hour before the event started, and I was covered in wheat paste, paint and applying decals to the floor behind her. We were literally making art till the doors opened. Luckily she was cool with it!

PP: Who helped you bring the vision to life? Did you hire a team?

LM: I hired an amazing team of local artists and builders. It was really cool assigning specific tasks to the specific talents of each artist involved.

To see the clothing, you’ll have to sit tight, everything will be released to the public a little closer to Olympic time.

Coverage by Lesley Morphy

 

 

February 29, 2012 | By: Shayna Kulik

Set Design: Super Bowl 2012




Leslie was tasked with the set design for this year’s Super Bowl/Pepsi sponsorship area alongside the field. Follow along as she discusses her vision and the challenges of bringing it all to life.

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The challenge for such a big event is coordinating all the different departments between lighting, stages, decor, video, audio, sponsor paraphernalia, etc, it’s pretty complicated.

Especially on Super Bowl where every single truck needs to go through VACIS and every person who enters the premises has been screened months in advance.

Security is tight! All of these things make planning of the utmost importance; if you have not hired your production assistants and laborers, confirmed your vendors, booked trucks, you will be panicking because you simply cannot get them in.

And a big creative challenge is creating something new and fresh for the same client and sponsors year after year.

I always try to approach the design with a new angle where the sponsor is present but there is a spin to the design. This year I decided to go all blue and white for Pepsi.

What people don’t realize is we quite literally deconstruct New York City and move it to Indianapolis, hundreds of trucks carry custom built stages and sets, with just as many hands waiting at the other end to complete the build.

To see this metamorphosis is one of the most thrilling parts of the job.

Coverage by Lesley Morphy

 

February 6, 2012 | By: Shayna Kulik

Tracking Repetitive + Awesome.
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