“No matter which field of design we are engaged with, it’s important to consider not just how the technology impacts the user, but also what effects it might have on non-users, wider society, and even other life on earth,” he says. The future is ever-morphing, continuously being shaped by experimental technology that evolves at warp speed. Designing the interfaces and experiences that shape future worlds means always having to look at the bigger picture, says digital designer and futurist Cennydd Bowles. “It’s becoming increasingly important for many of us to embrace individualism and weirdness.” “I think people are getting bored of seeking perfection,” says Jablonski. In contrast, the latest leaps of imagination in AR filters are about transformation and fun-more aquatic alien than Kim Kardashian. “Not long ago, I realized how social networks-instead of championing a newly found sense of freedom of self expression-maintain the antiquated status quo around beauty: manicured brows, doe-eyes, no wrinkles, clear skin and so on,” says Alpha. “I got most of my software and programming skills by watching online tutorials and testing them out, which called for a lot of trial and error.” “It sparked my interest in filter-specific AR experiences, but I wanted to create an alternative to the typical beauty masks and dog faces that were already out there,” says Jablonski. When digital artist Aaron Jablonski discovered Lens Studio, Snapchat’s AR platform, he applied to the program and became one of its official lens creators. That changed in 2017, when Snapchat and Facebook opened up its individual AR software, allowing everyone to tinker with the latest technology and create their own filters. For a long time, only in-house developers at Snapchat and Instagram could experiment with the medium. Even Cardi B couldn’t resist a dip.įor a digital product that’s currently holding humanity’s collective attention, the complex creative processes that lead to these reality-bending filters is not widely known. I wanted my work to imagine a fresh and feminine version of it.” Over the course of only a couple of weeks, Jaskowska shot to Instagram fame with her filters Beaut圓000 and Zoufriya, which enveloped thousands of faces in a prismatic sheen, almost as if soaked in virtual vats of sticky glycerine. “However, that vision has always been very masculine. “The kind of futurism that we are talking about has already existed for a decade, especially in movies like Blade Runner,” says Jaskowska. While Ines’ foray into AR filters was spurred by her love of makeup, designer Johanna Jaskowska dived into the world of augmented lenses specifically to find a new definition of this distinctly postmodern aesthetic.
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