I am Brandon Gorthy, I am a user-centered experience designer. I have a keen interest in developing experiences with the user in mind which involves user research, ethnographic research, persona user stories, a/b testing, usability testing, wireframing, and prototyping. I also love visual design that includes branding and identity design, visual communication through semantics, typography, strategic planning, layouts and comps.
I am a senior in the Digital Design program at the University of Colorado Denver. I am pursuing a Bachelor of Fine Arts with a Digital Design emphasis. I currently intern for CU Online as a part of their media production team for the University of Colorado Denver & the Anschutz Medical Campus. This includes producing storyboards, script writing, style boards, client meetings, working with a team, managing my time, and maintaining a relationship with all my coworkers and clients.
I look forward to thesis and internship endeavors and intend to graduate in May of 2014.
What a great couple. I got to seethe premiere of Design is One which is a documentary on the couple’s life work. Was thrilled to get to see more of their personality and learn about more of the work they’ve done and how they approach design problems.
Ask questions on the wants and the needs of your client. In the first meeting really understand what their needs are and what kind of person they are. It is not worth working with clients with no vision. Its not worth anything. It comes with a diagnostic attitude. The doctor will tell you exactly what you need. A bad doctor is a stylist and tell you what you want. Good doctors work by answering needs in ways that are intelligent creative and civilized. When you listen very well you know what it is that he needs and you can show it right away. My wife says no don’t show it right away otherwise he won’t let you charge him for it. Haha. Show the client one thing. Maybe we’ll make 50 for ourselves but only one is right for the client.
Daniel Wirtberg is an independent Swedish filmmaker. He has worked with several Swedish independent music artists that range from electro-pop to folk genres. Artists include Miike Snow, First Aid Kit, Little Dragon, and Timbuktu, all of whom have heritage and close connections with their Swedish background. Daniel is a part of a growing independent film and music scene in Sweden that challenges what cinema has been capable of and how working commercially is affecting decisions filmmakers make as creative directors. Daniel differentiates himself with his keen eye for composition, color, narrative structure, and motifs that all tie back to his individual music clients to fit their individual styles as music artists and still leave his signature.
Daniel Wirtberg is among many Swedish filmmakers producing in Sweden that are transforming how the art of film is being seen amongst creatives in the independent and low-budget segment of the creative industry. In Sweden, about 64.4 percent of annual film output are independent features1, a large portion for the independent sector. Due to the transformation and development of “regional centres for film” and activities “planned as being directed towards children and adolescents, providing a platform for contact with the medium”2 during the 1980s, it is likely that Daniel, born in 1983 in Karlstad, Sweden,3 gained influence during his adolescence to venture into film. During this time, the Swedish government invested in film when the European Regional Development Fund was being implemented by the European Union to boost economies across Europe that ended up providing today about “15-30 percent of a particular film’s cost” if produced within Swedish borders.4 It is fairly apparent in Daniel Wirtberg’s films that he doesn’t limit himself to the landscapes of Sweden but he certainly utilizes Scandinavia and landscapes not native to his own in addition to Sweden. In Crystalfilm by Little Dragon, Daniel had originally filmed a narrative with a storyline involving a small girl who becomes lonely living with her grandfather on a farm and so the plot leads you to her leaving him to live with other extended family. Daniel repurposed this film for Crystalfilm (2012) by taking shots from his original film Julia (2004) and working with Little Dragon to have them fit in as the scarecrows that follow the small girl through her entire journey as she grows out of adolescence. The rest of the film is the same actress but about nine years later as she is grown up, which really brings another level to the storyline and credibility towards Daniel. Daniel continues to explore this motif of “growing up” not just through the physical transformation the girl makes into becoming a woman, as the same actress nine years later, but also through scarecrows who don’t ever leave her. They can be seen as sentiment and residual matter from her childhood and history that will always be a part of her. She may have been trying to run from these traits of hers that she wished to break free from to explore the larger world or a city life. Despite this inclination to want to explore more which is a common desire shared amongst many adolescents, she realizes at the end that these traits of being a farm girl, having a grandfather who supports her emotionally and financially that reflects clearly on her emotional response on the boat at the end, and her keen desire to explore are all things she cannot escape but has to overcome. Daniel takes close care to his composition and makes every image and shot in this music video so compelling despite the footage being from two different time frames. Daniel also very seamlessly integrates a recognizable color scheme that is mysterious and depressing throughout the entire film that you aren’t unintentionally disjointed from the overall film experience. Daniel has created this style around his work that is mysterious and serene. He has managed to create recognizable color palettes due to his muted tones that are juxtaposed with his compelling composition and steady camera movement. Daniel has made his signature shots with very little movement of the camera and has his subjects be the subject of motion to bring the eyes into the composition rather than the camera as a distraction. Daniel also does this same style and technique in his music video he produced and directed for First Aid Kit called Blue (2012).
In Blue (2012), Daniel very subtly continues his signature static shots and shies away from any unnecessary camera movement and forces the focus on the subject itself providing minimal distractions. In this piece, Daniel finds a way to cleverly incorporate camera movement by breaking away from his own signature static shots when the character/subject herself breaks away from her lonely mansion that she spends all her time locked up in. This camera movement provides a visual break from the static shots and excites the composition to reflect on the story itself. It was a very clever way to use camera movements with purpose while still maintaining the visual aesthetic that Daniel goes for with his keen interest in static cameras. In Blue, Daniel also brings in the repeated motif of a closed-minded individual absorbed in their self-image and materials they own by designing how characters and objects are placed in each shot. He takes into consideration every detail to make the shots appear to be serene and mysterious. In a shot where the main character is in a room dedicated as her dressing area, the shot had been designed so that the mannequin “reflects” her “plastic” nature representing and wearing all materialistic items in the mirror next to her as she is looking into it trying to figure out what to wear around the house. This scene and many following scenes lead us to understand her obsession with her materials and we start to unravel other metaphors put in place by Daniel that represent the motif of materialism of the main character. The story goes to show she couldn’t survive leaving the house because she is only scared away by her own distaste for children and their games they play as well as the activities and people she was afraid, or rather had too much pride, to want to even interact with when maybe deep down she really wanted to interact someone without making the initial interaction herself. Daniel does a good job in empathizing with his audience clearly by how empathetic his stories are constructed. He takes into consideration every minute detail so that one could clearly understand and empathize with a character based on all our own actions and feelings generated as human beings being reflected within the characters themselves. This is important in storytelling, especially for music videos when the piece is meant to act as a promotional piece for a band.
In Sweden, the growing cinema production field still leaves many film producers in a state of finding ways to come up with money for their own personal independent projects. Swedish film producers have come to take film in a more modern approach by evaluating it to be “embraced with a kind of sympathy and anticipation that simply lacked a counterpart during the medium’s earlier ten decades of existence in the country”.5 Meaning that the medium didn’t have the same kind of anticipation from its audience or sympathy from its users to be utilized like it is now as music videos, independent films, advertisements, etcetera. Daniel Wirtberg is an outstanding example of how a film producer can still make due and fulfill their own goals as a filmmaker by integrating different mediums into their work by not only being able to define their style as a filmmaker in each work but also still create something for a client that is still unique for them as individual clients. Daniel has found a way to insert his signature aesthetic to his work while still maintaining the brand of the music artists. It is important financially for filmmakers to branch out in their medium that which they work in video if they want to pursue individual independent projects in their free time.
Daniel has creatively and successfully accomplished integrating music videos as a medium that which he works in film into his overarching work. I think that he does it very well through his composition, color pallette, static camera movements, serene environments, and intriguing characters with a storyline that empathizes with it’s audience whether it be for an electro-pop band such as Little Dragon or folk genre like First Aid Kit. Daniel has become a very successful filmmaker in Sweden and is clearly an outstanding professional in his career that can take on even projects that have bands that crucially need to maintain their brand in their music video but yet still produce something that both Daniel and the client benefit from and leave their “trademarks” on. As a Swedish filmmaker not in any way involved with Hollywood, I really praise Daniel Wirtbert for his inclinations to stay independent and produce projects that he personally wants to work on and contribute to without clouding his work with corporate projects that take away the creativity that one can express as an independent filmmaker.
1 Hedling, Olof. “A New Deal in European Film? Notes on the Swedish Regional Production Turn.” Film International (16516826) 6, no. 5 (September 2008): 8-17. Art Full Text (H.W. Wilson), EBSCOhost (accessed October 17, 2013). 2 Ibid. 3 “Daniel Wirtberg.” IMDb. Amazon, n.d. Web. 17 Oct. 2013. 4 Hedling, 8-17. 5 Hedling, 12.
“Daniel Wirtberg.” IMDb. Amazon, n.d. Web. 17 Oct. 2013.
Hedling, Olof. “A New Deal in European Film? Notes on the Swedish
Regional Production Turn.” Film International (16516826) 6, no. 5 (September 2008): 8-17. Art Full Text (H.W. Wilson), EBSCOhost (accessed October 17, 2013).