Star Trek postage stamps Aug 18 2016
Graphic Means is a documentary film by Briar Levit about the history of graphic design production from the 1950s to the 1990s.
It's been roughly 30 years since the desktop computer revolutionized the way the graphic design industry works. For decades before that, it was the hands of industrious workers, and various ingenious machines and tools that brought type and image together on meticulously prepared paste-up boards, before they were sent to the printer.
Features interviews with Steven Heller, Ellen Lupton, Tobias Frere-Jones, and more. (via @cleverevans)
Together they take us on a whistle-stop tour from the start of our universe (through the history of stars, galaxies, meteorites, the Moon and dark energy) to our planet (through oceans and weather to oil) and life (through dinosaurs to emotions and sex) to civilization (from cities to alcohol and cooking), knowledge (from alphabets to alchemy) ending up with technology (computers to rocket science). Witty essays explore the concepts alongside enlightening infographics that zoom from how many people have ever lived to showing you how a left-wing brain differs from a right-wing one.
And Stephen Hawking wrote the foreword. You fancy, Jennifer Daniel!
Like many of you, I have been watching Stranger Things on Netflix. My 80s movie fixations tilted towards the War Games/Explorers/Goonies end of the spectrum rather than the supernatural/horror/Steven King end so I'm not obsessed, but I am definitely enjoying it. You can watch the first 8 minutes of the show to judge for yourself.
But I love the opening credits, especially the music. (Both remind me of the opening credits for Halt and Catch Fire.) The title song was composed by Kyle Dixon and Michael Stein, members of Austin synth band Survive. Someone did a 10-minute extended version of the song and put it up on Soundcloud:
Currently on repeat for the last hour with no sign of stopping. You may also be interested in a pair of playlists featuring music from the show:
What else? Here's a deep dive into the font used for the opening credits (which was also used for the Choose Your Own Adventure books back in the 80s). Alissa Walker wrote about the free-range children on display in ST, something that also grabbed my attention. When I was a kid, I rode my bike everywhere. On summer weekends, I typically ate breakfast at my house and was gone until dinnertime. My parents had no clue where I was or what I was up to...and none of my classmates' parents did either.
Update: From the NY Times, The 'Stranger Things' School of Parenting.
Still, "Stranger Things" is a reminder of a kind of unstructured childhood wandering that -- because of all the cellphones, the fear of child molesters, a move toward more involved parenting or a combination of all three -- seems less possible than it once was.
The show's references to beloved films of the '80s have been much remarked upon, but "Stranger Things" also calls to mind all those books and TV shows -- from "The Chronicles of Narnia" to "Muppet Babies" -- where parents are either absent or pushed into the background.
These stories let children imagine breaking the rules, but they also allow them to picture themselves solving mysteries or hunting down monsters all on their own. Often it's only when the parents aren't watching that a child can become a hero.
Update: The official soundtrack for the show is available on iTunes. It's the score though, not the classic 80s tunes.
Update: Vox spoke to a creative director at Imaginary Forces about their process for designing the opening titles.
A lovely short video profile of Thomas Lilley, who is a roadliner in Glasgow. A roadliner is a person who paints the words and marks on roads with molten thermoplastic. Lilley does it quickly, freehand, and beautifully. The design firm who did the video above commissioned Lilley's crew to make a custom typeface for them and their new logo.
Alex Ronan interviewed legendary designer Susan Kare for Lenny. Cross-stitch prepared her for designing pixel icons and fonts for the Mac:
Also, I did have limited experience designing for grids from working on craft projects such as tiled ashtrays and cross-stitch embroidery kits.
Prince's iconic symbol was originally designed by Martha Kurtz and Dale Hughes (based on an initial concept by Lizz Frey) for use in a 1992 music video and Hughes shared a bunch of the original files and thinking that went into its design.
The day before Prince was scheduled to view HDMG's latest edit of the video, Mitch Monson (HDMG partner/video graphics artist) asked Martha and me if we could create an animated 3D logo to use as a close to the video.... by tomorrow.
Umm, okay, and what do you have to work with?
Well, we have these drawings that Lizz has been working on...
In response to feeling like he was psychologically "stuck in a big, dark hole", designer Thomas Thwaites decided to become a goat. At least part time.
From this, he builds a goat exoskeleton-artificial legs, helmet, chest protector, raincoat from his mum, and a prosthetic goat stomach to digest grass (with help from a pressure cooker and campfire)-before setting off across the Alps on four legs with a herd of his fellow creatures. Will he make it? Do Thwaites and his readers discover what it truly means to be human?
A book detailing his experience came out earlier this year.
From Clive Thompson, a history of the infographic, which was developed in part to help solve problems with an abundance of data available in the 19th century.
The idea of visualizing data is old: After all, that's what a map is -- a representation of geographic information -- and we've had maps for about 8,000 years. But it was rare to graph anything other than geography. Only a few examples exist: Around the 11th century, a now-anonymous scribe created a chart of how the planets moved through the sky. By the 18th century, scientists were warming to the idea of arranging knowledge visually. The British polymath Joseph Priestley produced a "Chart of Biography," plotting the lives of about 2,000 historical figures on a timeline. A picture, he argued, conveyed the information "with more exactness, and in much less time, than it [would take] by reading."
Still, data visualization was rare because data was rare. That began to change rapidly in the early 19th century, because countries began to collect-and publish-reams of information about their weather, economic activity and population. "For the first time, you could deal with important social issues with hard facts, if you could find a way to analyze it," says Michael Friendly, a professor of psychology at York University who studies the history of data visualization. "The age of data really began."
The AIGA and Design Observer have announced the results of the 50 Books/50 Covers competition for books published in 2015. The competition recognizes excellence in design of books and, separately, book covers. Here are a couple of my favorite covers:
Buzzfeed has a collection of newspaper front pages and magazine covers related to Brexit. Newseum has a more extensive collection (900+ newspapers) and the Guardian has a nice selection as well.
Out of all of them, I think the cover for next week's issue of the New Yorker is perhaps my favorite:
Ah, Monty Python.
Gary Hustwit, director of Helvetica and Objectified, is directing a movie on legendary product designer Dieter Rams. Here's the Kickstarter campaign.
This Kickstarter campaign will fund the film and also help to preserve Dieter's incredible design archive for the future. There's a trove of drawings, photographs, and other material spanning Dieter's fifty plus years of work, and it needs to be properly conserved.
To that end, we're working with the Dieter and Ingeborg Rams Foundation to help them catalog, digitize, and save these documents. The public has never seen most of this material, and we intend to share some of these discoveries with our backers during the process of making the film.
Rams' designs have influenced an entire generation of designers, including one Jony Ive from a small company called Apple.
Ahhh, this makes me nostalgic for the 90s World Wide Web. Designer Sebastian Serena has built a Rube Goldberg machine out of HTML form elements. Once you start, you'll watch the whole thing. (via @Colossal)
The Art of Atari showcases the design of the iconic company's video game packaging, advertisements, catalogs, and other stuff. Judging from my reaction to just the cover, I might die of nostalgia if I were to see the inside. Might be worth the risk though.
Just learned/realized that the old logos for Reebok, Apple, and Trapper Keeper all use the same typeface, Motter Tektura.
Design Facts is just what it says on the tin.
Design Facts is a platform for sharing the inspiring, shocking, passionate, brilliant, revolutionary, carefully crafted and relatively young history of our craft, all in bite-sized servings.
Warning, once you start reading, you're probably not going to be able to stop until you've seen all 135 facts. (Also, there's is something charmingly old school about this site. Sure, it's a slideshow, but in a 1997 sort of way.)
Nicholas Felton is out with a new book on information visualization and photography called Photoviz.
The stories told with graphics and infographics are now being visualized through photography. Fotoviz shows how these powerful images are depicting correlations, making the invisible visible, and revealing more detail than classic photojournalism.
Ahhhhh, this looks amazing. And is right up my alley as well...I quickly looked through some of the images featured in the book and I've posted many of them here before (see time merge media for instance). Can't wait for this one to arrive.
Gear Patrol collected a number of coffee cups from coffee shops around NYC. Prices for a small cup ranged from $1 to $4.50. I'm guessing the latter was not 4.5 times tastier than the former. (via @mccanner)
If you've ever pulled a door that you should have pushed, you're not alone. Vox and 99% Invisible collaborated on this video about bad door design. I read Don Norman's The Design of Everyday Things just as I was starting my design career and it probably had more influence than anything in how I approached designing for the web. (via @ophelea23)
IZ is an online clothing retailer catering to people in wheelchairs. The clothes are designed to be worn while seated and for ease of getting on and off. For instance this blazer is arch-cut in the back:
Pretty Much Everything is a mid-career survey of work, case studies, inspiration, road stories, lists, maps, how-tos, and advice. It includes examples of his work -- posters, record covers, logos -- and presents the process behind his design with projects like Field Notes and the "Things We Love" State Posters. Draplin also offers valuable advice and hilarious commentary that illustrates how much more goes into design than just what appears on the page. With Draplin's humor and pointed observations on the contemporary design scene, Draplin Design Co. is the complete package for the new generation of designers.
I've been a fan of his for a long time...this is an easy purchase.
Love these. African textiles. Studio 360: "But I had no idea that some of the trendiest of these prints are actually designed and produced in the Netherlands by a company called Vlisco."
Khrista Rypl writes:
Inge Oosterhoff wrote a wonderful deep dive into the history behind the Vlisco textile house, and explained how their designs have remained hugely popular in Africa since the late 1800s. But Vlisco doesn't just make fabric; they're known for their printed designs. And unlike many fashion companies, Vlisco doesn't name their patterns: each is given a number and then distributed to different areas in Africa. Some patterns are designed with different countries in mind, while others are distributed widely around the continent. As the patterns catch on among shopkeepers and consumers, many of them get colorful names like "Love Bomb," "Tree of Obama," and "Mirror in the Sun." But the names aren't even the best part: many popular patterns have developed specific cultural meanings and subtexts.
Transport for London recently released a document called the London Underground Station Design Idiom, a guide to the design aesthetic of Tube stations. After an introductory chapter called "A manifesto for good design", the document offers nine main guidelines for how Underground stations should be designed:
1. Achieve balance across the network. Good design is achieved through balance. For us, this means balance between heritage and the future, between a station's commercial activity and its customer information, and between the network as a whole and the station as a local place.
2. Look beyond the Bostwick gates. Stations are more than portals to the Underground; they are also places to meet, eat, shop and, most importantly, they are centres of community. Many people's mental map of London is organised by Underground stations. A neighbourhood's identity can be enriched by truly 'embedding' its station in the local area.
3. Consider wholeness. Good design starts by considering the whole: the whole station (from platform to pavement); the whole of the project from engineering to surface finishing; the whole team. It's about making sure the right people are engaged from the outset. Considering 'wholeness' means creating entire spaces with clear forms, which are clutter-free and legible for all users and requirements.
4. Prioritise comfort for staff and customers. Well-designed stations support staff in their varied roles so they can provide world class customer service. It is this interaction between staff, customers and the built environment that makes London Underground stations so special and distinguishes us from other metros.
5. Delight and surprise. Every Underground station should include at least one moment of delight and surprise, to improve customers' journeys and the working environment for staff. Such moments help put the network on the map, as a world-class leader of design.
6. Use materials to create atmosphere. The quality of materials has a huge impact on the way a station is perceived by both customers and staff. High quality materials that are robust and easy to maintain make better environments. Use materials to make atmospheric spaces that are dramatic and rich in texture. Make stations more memorable to customers and better places to travel to or through.
7. Create ambience with lighting. Lighting on the Underground is used to make safe and functional environments, with maintenance and costs often dictating the choice and application of fittings with no consideration on how this impacts overall perception of space. Although lighting must be functional to improve safety and increase feelings of comfort, it can also be transformational - improving spaces, drawing attention to heritage or special features and helping customers flow intuitively through a station.
8. Integrate products and services. Good design is not just about choosing the right materials and lighting, it also involves integrating the other products and services which make up the station. All network furniture, fixtures and equipment - such as customer information, safety equipment, ticketing, poster frames, advertising, CCTV and signage - must be fully integrated into the station so there is clarity and coherence from platform to pavement and across the network.
9. Prepare for the future. By embracing new technologies and understanding their benefits we can create better-designed stations that enhance the user experience. This also means considering the life cycle of existing and new materials and products. Designing in flexibility allows our stations to better respond to new challenges, opportunities and change programmes.
Aside from some of the specifics, that's not a bad list of guidelines on how to think about designing anything. (via mefi)
Pablo Eyre took a number of movie posters featuring photography from their respective movies and replaced the photos with the actual scenes. I imagine this is what movie posters look like in Harry Potter.
(Something must be in the air lately. This video is similar to two other videos I've linked to recently: book covers in motion?and a comparison of movie posters and the scenes that inspired them.)
In 1977, Herbert Yager interviewed designer and title sequence designer Saul Bass about his approach to designing opening title sequences for films such as North by Northwest, Vertigo, and Psycho.
I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's Carmen Jones and The Man With The Golden Arm and at some point, Otto and I just looked at each other and said, "Why not make it move?"
It was as simple as that.
I had felt for some time that audience involvement with a film should begin with its first frame.
Until then, titles had tended to be lists of dull credits, mostly ignored, endured, or used as popcorn time.
There seemed to be a real opportunity to use titles in a new way -- to actually create a climate for the story that was about to unfold.
No where in that excerpt did Bass or the interviewer reference Bass' wife and collaborator Elaine Bass, who worked closely with him on almost all of their film projects. In recent years, there's been a push to recontextualize their working relationship as a partnership. Elaine did start off working as his employee but clearly they worked as true collaborators for much of their careers.
Perhaps attempting to capitalize on the popularity of Minecraft with young boys, Random Penguin1 has released the Puffin Pixels Series of books. The covers of The Swiss Family Robinson, Treasure Island, and four more titles are done in the style of 8-bit video games. The cover illustrations were done by Michael Myers. (via @gavinpurcell)
I know it's Penguin Random House, but Random Penguin would have been more fun.↩
From Dorothy, a beautiful print of the history of electronic music mapped onto the circuit board of a theremin, one of the first electronic instruments.
Our Electric Love Blueprint celebrates over 200 inventors, innovators, composers and musicians who (in our opinion) have been pivotal to the evolution of electronic music from the invention of the earliest known sound recording device in 1857 to the present day. Key pioneers featured include Léon Theremin, Bob Moog, Karlheinz Stockhausen, Brian Eno, Kraftwerk, John Cage, New Order and Aphex Twin.
I am not a watch person. Haven't worn one since high school, no interest in getting an Apple Watch, etc. But this post on We Made This about watches that appeal to graphic designers lists a few watches I would consider wearing. The Braun is a classic, of course:
But this one from Instrmnt is also quite nice, although I would prefer slightly larger numbers:
And for kottke.org superfans only, I would recommend the Timex Weekender.
PS to the superfans: if you don't like watches, may I interest you in a Vancouver bridge?
Michael Bierut is popping off right now. The School of Visual Arts recently honored him with their Masters Series Award, which includes an exhibition of his work that runs until early November. And he's also out with a new book with a large title, How to Use Graphic Design to Sell Things, Explain Things, Make Things Look Better, Make People Laugh, Make People Cry, and (Every Once in a While) Change the World.
I always wear a necktie to work. I didn't claw my way all the way from Ohio just to dress like a farmer.
And his love for Wile E. Coyote:
He had this endless faith and brand loyalty and never thought to try the competition even though Acme products failed him time and time again.
From Kevin Slavin and Bunnie Huang on location in Shenzhen, China, a look at what changes when you stop designing phones for companies and start designing them for people. You end up with a variety of phones satisfying different desires, from tiny phones that double as Bluetooth earpieces to phones that look like a race car or a pack of cigarettes or a soda can to phones with built-in lamps.
A spin around the internet reveals many more examples of these kinds of phones: flashlight phones, lighter phones, phones with up to 4 SIM slots, super-rugged phones w/ walkie talkie capability, credit card-sized phones, watch phones, and USB key phones. (via @triciawang)
Jason Fried wrote a preview of what's coming in Basecamp 3. Jim Ray noted on Twitter that "Basecamp vs. Slack will be interesting". And suddenly I remembered that back in 2002, Jason, Slack CEO Stewart Butterfield, and I hosted a "peer meeting" on Simplicity in Web Design at SXSW.1 The meeting's description:
As the Web continues to increase in complexity, many designers are looking to simplicity as a tool in designing Web sites that are at once powerful and easy for people to use. Join your peers and colleagues in a discussion facilitated by three working designers who are committed to producing work which is simple: obvious, elegant, economical, efficient, powerful and attractive. We'll be discussing what simplicity in Web design really means, the difference between Minimalism as an aesthetic and simplicity as a design goal, who is and who isn't simple, how you can use simplicity to your advantage, and plenty more.
It's fun to see those two going at it more than 13 years later, still focused on harnessing the power of simplicity to help people get their best work done. (I don't know what the other guy's deal is. He's doing.... something, I guess.)
This was also the year I got food poisoning the first night of the conference, basically didn't eat anything for 5 days, and lost 10 pounds. Either Stewart or Jason suggested running to a bakery to get cookies for everyone at the meeting, and a little nibble one of those chocolate chip cookies was one of the few things I had to eat in Austin that year. ↩
From 1969, this is the video that Saul Bass made to pitch AT&T on a new corporate identity. What a time capsule. Here's the logo, which remained in use until 1983, when Bass designed the "Death Star" logo to replace it.
....and it still looks like a middlebrow kids clothing brand logo.
So why are we doing this now? Once upon a time, Google was one destination that you reached from one device: a desktop PC. These days, people interact with Google products across many different platforms, apps and devices-sometimes all in a single day. You expect Google to help you whenever and wherever you need it, whether it's on your mobile phone, TV, watch, the dashboard in your car, and yes, even a desktop!
Today we're introducing a new logo and identity family that reflects this reality and shows you when the Google magic is working for you, even on the tiniest screens. As you'll see, we've taken the Google logo and branding, which were originally built for a single desktop browser page, and updated them for a world of seamless computing across an endless number of devices and different kinds of inputs (such as tap, type and talk).
Update: The design team shares how they came up with the new logo.
Update: When I said that Google's new logo "still looks like a middlebrow kids clothing brand logo", this is pretty much what I meant.
Gymboree's identity (1993-2000) vs. Google's new identity (Sep 01, 2015)
When I posted about NASA's logo battle, I included a link to some photographs of the NASA Graphics Standards Manual. At the time, I mused to myself that someone should reprint the manual...hey, maybe the guys who did the standards manual for the NYC subway. Well, lo and behold, that is exactly what's happening. Jesse Reed & Hamish Smyth just launched a Kickstarter campaign to reissue the 1975 NASA Graphics Standards Manual.
Our Kickstarter will support the printing of a reissue of the manual. It will be printed and bound as a hardcover book, using high quality scans of [the original designer's] personal copy, who is in full support of the campaign.
From Pop Chart Lab, a beautiful poster showing 121 architectural styles of American houses.
Useful if you don't know your Victorian from your Tudor from your Greek revival.
If I could afford it (£2000!), I'd get The Livingstone globe in Prussian blue. Beautiful and wonderful craftsmanship.
NASA's original logo looked something like this:
It was referred to, colloquially, as the meatball. In the 1970s, the meatball was switched out for the worm, a more Modernist take:
This logo was done by Richard Danne and Bruce Blackburn, and Danne wrote an essay about the experience.
And here is one of the most interesting exchanges I've ever witnessed in a design presentation:
Fletcher: "I'm simply not comfortable with those letters, something is missing."
Low: "Well yes, the cross stroke is gone from the letter A."
Fletcher: "Yes, and that bothers me."
Fletcher: (long pause) "I just don't feel we are getting our money's worth!"
Others, not just the designers were stunned by this last comment. Then the discussion moved back to the strong red/rust color we were proposing. We had tried many other colors of course, including the more predictable blue range, but settled on red because it suggested action and animation. It seemed in spirit with the Can Do nature of the Space Agency.
Fletcher: And this color, red, it doesn't make much sense to me."
Low: "What would be better?"
Fletcher: "Blue makes more sense... Space is blue."
Low: "No Dr. Fletcher, Space is black!"
NASA's Graphics Standards Menu utilizing the worm logo can be seen here.
The space agency switched back to the original logo in 1992. Michael Bierut compared the two:
The worm is a great-looking word mark and looked fantastic on the spacecraft. By any objective measure, the worm was and is absolutely appropriate, and the meatball was and is an amateurish mess.
Cities, businesses, and artists are producing small batches of paper currency designed to be spent locally. I love the £20 note from Bristol, England (above)...it's got Wallace's head on it!
The local currency, though, is intended not as collectible but to encourage trade at the community businesses where they are accepted, rather than chain stores, where money taken in tends to flow out of town and into the coffers of multinational corporations. (Compare it to the farmers' market: Homegrown lettuce now has a whole new meaning.)
"If you use a local currency, you keep the money local, and that has a 'lifts all boats' vibe to it," said David Wolman, the author of "The End of Money."
Susan Kare, who famously designed the original icons for the Apple Macintosh, has teamed up with Areaware to offer real decks of cards with her artwork from Windows 3.0's version of Solitaire. Nice example of defictionalization. They're currently sold out but I'm hoping they restock so I can order a deck. (via subtraction)
Update: Areaware tells me that the cards aren't out of stock, they are just not in stock yet. So don't worry...they haven't sold out or anything.
The Fibonacci Shelf by designer Peng Wang might not be the most functional piece of furniture, but I still want one.
The design of the shelf is based on the Fibonacci sequence of numbers (0, 1, 1, 2, 3, 5, 8, 13, 21, ...), which is related to the Golden Rectangle. When assembled, the Fibonacci Shelf resembles a series of Golden Rectangles partitioned into squares. (via ignant)
Pixar: The Design of Story is an upcoming exhibition at the Cooper Hewitt National Design Museum here in NYC.
Through concept art from films such as Toy Story, Wall-E, Up, Brave, The Incredibles and Cars, among others, the exhibition will focus on Pixar's process of iteration, collaboration and research, and is organized into three key design principles: story, believability and appeal. The exhibition will be on view in the museum's immersive Process Lab -- an interactive space that was launched with the transformed Cooper Hewitt in December 2014 -- whose rotating exhibitions engage visitors with activities that focus on the design process, emphasizing the role of experimentation in design thinking and making.
More details are available in the press release. Definitely going to check this out and take the kids.
I think I'm a little bit in love with Muji's white toaster, designed -- along with a few other new items -- by Naoto Fukasawa.
Fukasawa also designed Muji's wall-mounted CD player. The toaster is only available at select stores in the US for now, but can be found in the UK and Europe in a few months. Or buy it now on eBay. (via @daveg)
Wired asked a bunch of noted designers -- Paola Antonelli, John Maeda, Jessica Walsh, Milton Glaser, etc. -- for their summer reading picks. Among their selections were Flow by Mihaly Csikszentmihalyi, An Engineer Imagines by Peter Rice, The Success and Failure of Picasso by John Berger, and Just Enough Research by Erika Hall.
Design Observer and the AIGA have announced the winners of their 50 Books | 50 Covers competition to find the best designed books and book covers published last year. The books are here and the covers are here.
They're publishing a book and putting on an exhibition in New Orleans of the winners and need your help on Kickstarter to make it happen.
Saul Bass designed the opening sequences for dozens of films, including North by Northwest, Psycho, West Side Story, and Goodfellas. Here's a look at some of his best work:
(via art of the title)
From designer Karl Sluis, a list of nine great book about information visualization not written by Edward Tufte. Gonna keep my eye out for Stephen Few's Now You See It and David McCandless' The Visual Miscellaneum, but Herbert Bayer's World Geographic Atlas is a little too rich for my blood.
I love this piece from Jennifer Daniel about self-congratulatory "design can change the world" rhetoric.
Design can change the world. Are you kidding me? Are we having a debate or a therapy session?
Designers will do anything to convince themselves we are not in a service industry. Why are we so desperate to make ourselves feel better? Because we feel GUILTY and we have to reconcile what we do professionally with the world we live in. We WANT to save the world so we repeat our daily affirmations on our way to work...
"Design can change the world."
...on our way to yoga...
"Design can change the world."
This debate as is an attempt to assuage the guilt we already have and know we have because we're here doing THIS instead of something truly meaningful.
Soon after the logo for Hillary Clinton's campaign was revealed, I wrote "I am not a big fan of the arrowed H". Well, the campaign's clever use of the logo has won me over. Quartz's Annalisa Merelli explains.
It is through all these iterations that Clinton's logo fully displays its iconic value: It is highly recognizable despite the changes, and the much-criticized right-facing red arrow is now appears as it was likely meant to: pointing the way forward. The different backgrounds aren't just an innovative graphic solution-they are the visual embodiment of the values Clinton is building her campaign around. It vehicles a leadership based on collectivity and inclusiveness rather than the elitist individualism Clinton is often accused of.
The site conveys important information -- location, hours and a phone number are featured prominently, as are frequently asked questions -- in a visually appealing way that expresses the restaurant's high-end yet relaxed atmosphere while also making you hungry.
This is what a restaurant website should do -- namely, serve as an extension of its brick-and-mortar presence -- and yet so many miss the mark, says Krystle Mobayeni. For years, Mobayeni ran her own web design agency. Clients included Rent the Runway, Sailor Jerry, the School of the Visual Arts, plus a few restaurants, such as David Chang's Momofuku. While companies in other industries usually had a good handle on their web presence, Mobayeni noticed that the restaurants were struggling. There wasn't a good platform that anticipated their needs and gave them an easy way to present themselves on the web, and so often, their sites suffered for it.
The number has been steadily dwindling the last few years, but it's surprising how many restaurant sites are still Flash, don't work on mobile, and make you work to find the location and opening hours. Some examples of Bento's work: Parm, Fedora, and The Meatball Shop. Damn, now I'm hungry. (via @adamkuban)
One of my favorite designers, Jessica Hische (she did the film titles for Moonrise Kingdom), is coming out with a new book in September called In Progress: See Inside a Lettering Artist's Sketchbook and Process, from Pencil to Vector.
This show-all romp through design-world darling Jessica Hische's sketchbook reveals the creative and technical process behind making award-winning hand lettering. See everything, from Hische's rough sketches to her polished finals for major clients such as Wes Anderson, NPR, and Starbucks. The result is a well of inspiration and brass tacks information for designers who want to sketch distinctive letterforms and hone their skills.
Hische made a video offering a quick tour of the book:
Nick Barnes is a football commentator for BBC Radio Newcastle. For each match he does, Barnes dedicates two pages in his notebook for pre-match notes, lineups, player stats, match stats, and dozens of other little tidbits.
Wonderful folk infographics. NBC commentator Arlo White also shared his pre-match notes. Both men say they barely use the notes during the match...by the time the notes are done, they know the stuff. (via @dens)
From the design shop of Lernert & Sander, a poster of almost a hundred different foods cut into perfect little cubes. No CGI involved, it's actually food. No idea how they got some of those foods to hang together...particularly the onion, cabbage, and leek. (via colossal)
Seb Lester can somehow freehand draw the logos for the NY Times, Honda, Ferrari, Coca-Cola, and many more.
Watching the video, I didn't even notice any tracing...it's all freehand. Keep up with Lester's drawings on his Instagram account.
Kevin Fox recently unearthed a screenshot he took of Apple's homepage in the early 90s:
I don't remember this version, but it looks like it was contemporary with this Microsoft homepage (which I do remember). I bet there's footage of this page in Triumph of the Nerds or Nerds 2.0.1 or on an episode of Computer Chronicles. Anyone?
From his Twitter stream, it appears that Wolff is attempting to make an actual Hillvetica font so stay tuned. FYI, Pentagram partner Michael Bierut designed the logo. The simplicity is appealing, but overall I am not a big fan of the arrowed H.
Update: The Washington Post made a little text editor so you can write whatever you want in Hillvetica. The Clinton campaign has already put it to use:
The aluminum soda can is a humble testament to the power and scope of human ingenuity. If that sounds like hyperbole, you should watch this video, which features eleven solid minutes of engineering explanation and is not boring for even a second.
More science/engineering programming like this please...I feel like if this would have been on PBS or Discovery, it would have lasted twice as long and communicated half the information. For a chaser, you can watch a detailed making-of from an aluminum can manufacturing company:
Someone pretending to be a Parisian hipster who only watches VHS versions of modern shows & movies like Game of Thrones and Interstellar created these VHS covers as an April Fools joke. These are actually pretty great. (via subtraction)
Conceived in the late 1970s as a hybrid of three of the most popular (and some would say, overused) sans-serif typefaces in the world, Haas Unica didn't make the digital jump to personal computers in the 1980s. It was nearly forgotten, but has been revived by Monotype, which released Neue Haas Unica as a webfont today.
Unica® was an attempt to create the ultimate sans-serif - a hybrid of Helvetica, Univers and Akzidenz Grotesk. Designed by Team '77 and released to great acclaim in 1980, Unica went missing under a heap of legal disputes and has never been available as a full, digital typeface. Until now.
Unica's story starts in the 1970s. Electronic, on-screen phototypesetting was gaining popularity, but most sans-serif typefaces on the market had been designed earlier, in the era of metal type. The revered Haas Type Foundry in Münchenstein, Switzerland, saw the chance to develop a new sans-serif face that was optimized for the new technology and filled the gap in the market. To develop their new product, they turned to Swiss type design trio, Team '77 (André Gürtler, Christian Mengelt and Erich Gschwind).
Team '77 set out to design a font based on Helvetica but drawing on other sans-serif typefaces, principally Univers. The name they gave it would also be a hybrid of the two.
The original name for Helvetica was Neue Haas Grotesk. Haas + Univers + Helvetica = Haas Unica.
Update: Several digital versions of Haas Unica have been available prior to this one.
For many years a digital version of Unica was available from Scangraphic (and Elsner+Flake) but it was pulled from the market due to a complaint by Linotype who claims the Haas rights. In 2008, Cornel Windlin did a Semibold for the the Schauspielhaus Zürich identity, used in 2009-10. Later, Louise Paradis created a revival named Unica Intermediate while doing research for the TM retrospective.
Although I am slowly coming around1 to Massimo Vignelli's assertion that designers should only use a handful of typefaces, I enjoyed seeing Typographica's list of their favorite typefaces of 2014.
Typeface design and distribution is in a state of rapid change. Last year we noted its diffusion around the globe, and that trend persists. The majority of font production is no longer concentrated in a few regional epicenters.
That goes for corporate epicenters as well. The independence of type designers themselves is increasingly evident. Small foundries have existed since the dawn of digital fonts, but now they are the norm. Only a handful of the selections in this year's list were published by companies with more than ten employees.
I discovered that one of the selections, a beautiful custom typeface made for the reopening/rebranding of the Cooper Hewitt Design Museum (sample shown above), has been made available by the museum for free download (including a web fonts version).
From product designer Greg Koenig, a fantastic display of Kremlinology on how he thinks Apple makes the Apple Watch, based on the available evidence (production videos, patents, product specs).
In the above shot, blanks are placed in an immersion ultrasonic tester. What Apple is looking for is the presence of voids or density variances within the structure of the blank that, under stress, could lead to part failure or surface defects as material is removed in further machining processes. This level of inspection is, to put it mildly, fastidious beyond where most other companies would go (save Rolex). Immersion ultrasonic inspection is typically reserved for highly stressed medical implants and rotating components inside of aircraft engines; not only does this step take time, it also is typically performed by custom built machines of tremendous expense.
If you don't have the time or energy to read through the whole thing, at least skip to the final two paragraphs about manufacturing as ritual.
Also, Koenig's Twitter stream is full of interesting nuggets about Apple. Here are a few that caught my attention:
If you want a preview of how Swiss watch companies will face off Tech companies in watches, look at Leica.— Greg Koenig (@gak_pdx) March 20, 2015
FYI- Now is about the time iPhone 6s first article samples are rolling off production lines.— Greg Koenig (@gak_pdx) March 19, 2015
Think about that,
The Apple Watch has as much to do with watches as an iPhone has to do with being a phone.— Greg Koenig (@gak_pdx) March 11, 2015
"It's a phone, an iPod and an internet communicator" Of those 3 original tentpoles, 2 are nearly irrelevant.— Greg Koenig (@gak_pdx) March 11, 2015
From the cool devices in our hands, to the software on our screens, to the smooth stylings of Jony Ive's Apple product video voiceovers, it's clear this is the era of design. Since design has touched and changed so many parts of our lives, isn't it time that we redesigned death? The chief creative officer at one of the top design firms in the world thinks it is:
With just a little attention, it seemed -- a few metaphorical mirrors affixed to our gurneys at just the right angle -- he might be able to refract some of the horror and hopelessness of death into more transcendent feelings of awe and wonder and beauty.
From Jon Mooallem in California Sunday Magazine: Death, Redesigned. (I like where you're going with the embalming and the eternal darkness, I just think it could pop a little more.)
Motherboard has an interesting story about how women who lose limbs are finding prosthetic devices are made for men: "Man Hands."
When Jen Lacey gets her toes done, she does both feet, even though one of them is made of rubber. "I always paint my toenails," she says, "because it's cute, and I want to be as regular as possible." But for a long time, even with the painted toes, her prosthetic foot looked ridiculous. The rubber foot shell she had was wide, big and ugly. "I called it a sasquatch foot," she jokes. "It's an ugly man foot."
Part of the problem is that most prosthetic devices are designed by men and most prosthetists are men.
There are a few reasons for all this male-centric design. The history of prosthetics is, in large part, a history of war. One of the earliest written records of a prosthetic device comes from the Rigveda, an ancient sacred text from India. Ironically, that amputee is a woman--the warrior queen Vishpala loses her leg in battle and is fitted with a replacement so she can return and fight again. But after that, the history of prosthetics is nearly entirely a history of men--Roman generals, knights, soldiers, dukes.
Every year, 30 percent of those undergoing an amputation are women. In other words, it's the 70 percent that's male that drives the market.
These Shylights are amazing. Kinetic ceiling lights that resemble blooming flowers, unfurling parachutes, descending ghosts.
The concept is based on nyctinasty, the process by which flowers open and close due to light or temperature changes.
"We wanted to find this exact moment, where the difference is in an object, when it is dead or when it starts to become alive."
(via This Isn't Happiness)
If you've seen "American Psycho," you'll likely remember the scene where Patrick Bateman and his peers pull out their business cards like Old West gunfighters pulled out their firearms. Now you can have Bateman's card -- "That's bone. And the lettering is something called Silian Rail." -- in the form of an iPhone case.
As for Silian Rail, according to IMDb:
This is not a real font, the name was invented by Bret Easton Ellis for the novel. In the film, the actual font seen on the business card is Garamond Classico SC.
This Garden of Eden-themed serpent rug by Fornasetti belongs in a bedroom.
The Wall Street Journal explores "The Cult of Fornasetti."
One of my design heroes, Kelli Anderson, is coming out with a pop-up book called This Book Is a Planetarium. What's unique about this book is that the pop-up elements are functional contraptions, in the vein of her record player wedding invitation. There's a tiny planetarium:
and a speaker for your smartphone:
The news comes via a video profile of Anderson's work by Adobe. So cool.
Vice did a nice little feature on George Lois, the kind of 1960s big-egoed ad man on which Mad Men's Don Draper was based.
Update: Here's the transcript for the episode of This American Life in which Sarah Koenig interviews her father Julian Koenig about George Lois taking credit for some of his best ideas.
In my instance, the greatest predator of my work was my one-time partner George Lois, who is a most heralded and talented art director/designer, and his talent is only exceeded by his omnivorous ego. So where it once would've been accepted that the word would be "we" did it, regardless of who originated the work, the word "we" evaporated from George's vocabulary and it became "my."
Of course, Koenig also claims to have invented thumb wrestling and to have popularized shrimp in America, so... (via @kevinmeyers)
For her master's project, Barbara Bernát designed a set of fictional banknotes: the Hungarian Euro.
I am a total sucker for banknote mockups and aside from the simplicity, what caught my eye about Bernát's project is the one security feature: if you look at the notes under a UV light, you see the skeletons of the animals depicted on the notes:
A project called Chinatown takes familiar logos like Pepsi, Starbucks, UPS, and Lego and translates them, imprecisely, into their Chinese equivalents.
It uses basic words for translation, such as "Caramel Macchiato" for "Starbucks" in order to maintain the visual continuity. By arranging the words this way, 'Chinatown' pushes viewers to ask themselves what it means to see, hear, and become fully aware. 'Chinatown' also demonstrates our strangeness to 1.35 billion people in the world, when you can't read Chinese.
The winners have been announced in the 2015 edition of the always-charming DWR Champagne Chair Contest in which contestants compete to build the coolest little chairs using only a single champagne cork. The winner and the runner-up:
I actually like the second place chair more than the winner. You can check out all of the submissions to the contest on the main contest page, including this fantastic swiveling chair:
If you've ever noticed most ski trail maps look kinda the same, the reason is many of them have been painted by a single individual: James Niehues.
Each view is hand painted by brush and airbrush using opaque watercolor to capture the detail and variations of nature's beauty. In many instances, distortions are necessary to bring everything into a single view. The trick is to do this without the viewer realizing that anything has been altered from the actual perspective.
Here's a selection of his work:
Responsive web design is a technique used by web builders where the design adapts to different screen sizes. Designer Joe Harrison has built a page with responsive logos for several well-known brands, including Coca-Cola, Nike, Disney, and Levi's. If you resize the page, you can see the logos change. Here's how the Disney logo looks as your browser window gets smaller (from L to R):
As the browser gets smaller, the logos lose detail and become more abstract. By the time you get to the smallest screen width, you're down to just the Disney "D" or Nike swoosh or Heineken red star, aka the bare minimum you need to render the logo recognizable, if only on a subconscious or emotional level. Which reminds me of Scott McCloud's discussion of iconic abstraction (and The Big Triangle) in Understanding Comics, which is still one of the best books on design and storytelling I've ever read. Here's a bit of the relevant passage:
Defining the cartoon would take up as much space as defining comics, but for now, I'm going to examine cartooning as a form of amplification through simplification. When we abstract an image through cartooning, we're not so much eliminating details as we are focusing on specific details. By stripping down an image to its essential "meaning", an artist can amplify that meaning in a way that realistic art can't.
The reason why those particular logos work responsively is because they each have abstract representations that work on that meaningful emotional level. You see that red Levi's tag or Nike swoosh and you feel something.1 I think companies are having to design logos in this way more frequently. Contemporary logos need to look good on freeway billboards, on letterhead, as iOS icons, and, in the case of the Facebook, Twitter, or Pinterest logos, affixed to tiny tweet/like/pin buttons. (via ministry of type)
I've talked about this elsewhere, but in designing the "identity" for kottke.org (such as it is), having an abstract
logo identifying element has been an important part of the process. I wanted to have an element (currently the blue gradient) that if you saw it and recognized it, you had a reaction to it on a emotional level. Here's what I wrote about an older kottke.org design: "The yellow-green thing at the top is a tag. Like the red tag on Levi's jeans or even the red stripe on Prada shoes. It's small, out of the way, but when you see it on something, you know exactly what you're holding in your hands." It's my favorite design trick and likely influenced by Understanding Comics more than I realize. ↩
Khoi Vinh is coming out with a book soon called How They Got There: Interviews With Digital Designers About Their Careers. It is, as Tyler Cowen would say, self-recommending. Vinh explains a bit more:
You can read terrific profiles of many of these folks elsewhere, but the conversations that I conducted with them are both narrower and more in-depth. They focus squarely on how these folks discovered their callings in the design profession, how they got their first big breaks, how they put together successful careers in digital media. There are some wonderful, insightful, brilliant, hilarious and amazing stories captured here.
Basically, this is the book that I wish that I could have had handy when I was just starting out, when I was trying to figure out how to get from A to B career-wise. Even better, what I found when I was writing it was that the conversations were so interesting that I felt newly inspired myself. I think you'll feel similarly.
Forget the book (I mean, it looks great), but Khoi, where do you find the time for everything? Three kids, two or three side projects, regular blogger, startup VP...you're almost as productive these days as Beyonce is.
Update: How They Got There is now out and available for purchase.
The picks for the finest magazine covers of the year are starting to trickle out. Coverjunkie is running a reader poll to pick the most creative cover of 2014. Folio didn't pick individual covers but honored publications that consistently delivered memorable covers throughout the year; no surprise that The New York Times Magazine and Bloomberg Businessweek were at the top of the heap.
See also the best book covers of 2014.
At the NY Times, Nicholas Blechman weighs in with his picks for the best book covers of 2014.
Dan Wagstaff, aka The Casual Optimist, picked 50 Covers for 2014.
From Jarry Lee at Buzzfeed, 32 Of The Most Beautiful Book Covers Of 2014.
Paste's Liz Shinn and Alisan Lemay present their 30 Best Book Covers of 2014.
And from much earlier in the year (for some reason), Zachary Petit's 19 of the Best Book Covers of 2014 at Print.
If you've ever wondered how a designer does their thing (or even if you haven't), this look-over-the-shoulder view of Aaron Draplin designing a logo for a fictional company in about 10 minutes is great. A nice reminder that design is truly about making it up as you go along.
I love Draplin. Internet treasure, that guy. And that lefty writing claw! Go lefties!
Totally sweet and charming video of Apple co-founder Steve Wozniak talking about the early days at the company while setting up and using an old Apple II.
Of Apple's two founding Steves, Wozniak was the technologist and Jobs was the one with the artistic & design sense, right? But it's obvious from watching this video that Woz cared deeply about design and was a designer of the highest order. Those early Apple circuit boards are a thing of beauty, which is echoed in the precision and compactness with which Apple currently designs iPhone and Mac hardware. They each have their own unique way of expressing it, but Woz and Jony Ive speak in a similarly hallowed way about how their products are built.
Update: Wozniak still has improving the Apple II on his mind. From earlier this year:
I awoke one night in Quito, Ecuador, this year and came up with a way to save a chip or two from the Apple II, and a trivial way to have the 2 grays of the Apple II be different (light gray and dark gray) but it's 38 years too late. It did give me a good smile, since I know how hard it is to improve on that design.
By the time I was done, the design of the Nova was half as many chips as all of the other minicomputers from Varian, Digital Equipment Corp., Hewlett-Packard, all of the minicomputers of the time (I was designing them all). And I saw that Nova was half as many chips and just as good a computer. What was different? The architecture was really an architecture that just fit right to the very fewest chips.
My whole life was basically trying to optimize things. You don't just save parts, but every time you save parts you save on complexity and reliability, the amount of time it takes to understand something. And how good you can build it without errors and bugs and flaws.
I am loving these posters for non-existent movie sequels, but the names might be even better. A sampling:
Fight Club: The 2nd Rule
Bigger Trouble in Little China
Spaceballs III: The Search for Spaceballs II
Titanic 2: Above Zero
Prints are available for all of these. (via @cabel)
When the new Airbnb logo was introduced, the company caught a lot of flack from the internet because the logo resembled an odd combination of almost every sexual body part. I actually liked the logo right away and after a few months with it, the juvenile connotations have faded.
But you know what makes Airbnb's logo really really really look like a cartoonish vagina butt? Putting arms and legs and hats on the logo and animating it.
Airbnb is sponsoring the NYC Marathon this year, and the logo characters were created for the event. Maaaaybe they'd like to rethink this?
This is the design that Norway has chosen for their banknotes starting in 2017:
From now on, I'm paying for everything with kroner. (via co.design)
The rooster on the Sriracha bottle has made its way to iPhone cases, t-shirts, and water bottles. But no one (not even the founder of the company) knows the name of the street artist who created the now famous logo.
Over at Trivia Happy, Phil Edwards interviewed Ellen Lampl, who designed the logos for Mike Judge's underrated Idiocracy.
Some logos came from the script, while some came from the designers' brainstorming sessions. Brawndo and Carl's Jr. were written, while Lampl made logos for companies like Nastea and Fedexx once the overall look was approved. For Lampl, it was a great release, because "coming from the past constraints of advertising, it was cathartic to have the liberty to be bawdy and irreverent. Making everything ridiculously over-emphasized with bright colors, outlines upon outlines, and exaggerated drop shadows was my personal jab at the world of branding and in-your-face typography."
Eleanor Lutz has a degree in molecular biology, works as a designer, and loves to combine the two interests by making these wonderful information graphics on her site, Tabletop Whale. Her most recent post is an animated graphic showing how several animals (birds, bats, insects) move their wings while flying.
I love love love Lutz's animated chart of North American butterflies. So playful!
Whether you're a designer or not, you make design decisions every day.
Successful design projects require equal participation from both the client and the design team. Yet, for most people who buy design, the process remains a mystery.
In his follow-up to Design Is a Job, Mike Monteiro demystifies the design process and helps you prepare for your role. Ensure you're asking the right questions, giving effective feedback, and hiring designers who will challenge you to make your product the best it can be.
I've been doing the primary research for this book for 20 years. I deal with clients every day and I see what works and doesn't work and I've screwed up more times than I'd like to think about. But every lesson in that book is field tested. This book has zero percent theory in it. It was written on a factory floor.
Join designer James Victore for an opinionated tour of the typography of Brooklyn and Queens.
We're going to do a typographical tour of Brooklyn and Queens, We're going to look at type on the street and signage on the street and try to figure out what the hell it's for.
Favorite quote: [Pointing at a logo for a waxing salon] "There's been a designer here. Which is not always a good thing." (via gothamist)
The 2013 Personal Annual Report for Nicholas Felton is available for pre-order and online perusal. Pre-ordered...I own a copy of every one except for the first year.
ps. The NY Times did a video about Felton and his annual reports.
The Art of the Title has a look at the Emmy nominees for best title design for 2014: Black Sails, Cosmos, Masters of Sex, Silicon Valley, and True Detective. As noted, the excellent titles for Halt and Catch Fire missed the eligibility period by a day. Spoilers: True Detective's titles won.
Today I learned that iconic designer Milton Glaser co-wrote a column for New York magazine (which he co-founded) about where to find cheap-but-good food in NYC. It was called The Underground Gourmet. Here's a typical column from the October 27, 1975 issue, reviewing a ramen joint in Midtown called Sapporo that is miraculously still around:
Glaser and his co-authior Jerome Snyder eventually packaged the column into a series of books, some of which you can find on Amazon...I bought a copy this morning.
I found out about Glaser's food enthusiasm from this interview in Eye magazine about The Underground Gourmet and his long collaboration with restaurateur Joe Baum of the Rainbow Room and Windows on the World.
We just walked the streets ... When friends of ours knew we were doing it we got recommendations.
There were parts of the city where we knew we could find good places ... particularly in the ethnic parts. We knew if we went to Chinatown we would find something if we looked long enough, or Korea Town, or sections of Little Italy.
More then than now, the city was more locally ethnic before the millionaires came in and bought up every inch of space. So you could find local ethnic places all over the city. And people were dying to discover that. And it was terrific to be able to find a place where you could have lunch for four dollars.
In 2010, Josh Perilo wrote an appreciation of The Underground Gourmet in which he noted only six of the restaurants reviewed in the 1967 edition had survived:
Being obsessed with the food and history of New York (particularly Manhattan), this was like finding a culinary time capsule. I immediately dove in. What I found was shocking, both in the similarities between then and now, and in the differences.
The most obvious change was the immense amount of restaurants that no longer existed. These were not landmarked establishments, by and large. Most of them were hole-in-the wall luncheonettes, inexpensive Chinese restaurants and greasy spoons. But the sheer number of losses was stunning. Of the 101 restaurants profiled, only six survive today: Katz's Delicatessen, Manganaro's, Yonah Schimmel's Knishes Bakery, The Puglia and La Taza de Oro. About half of the establishments were housed in buildings that no longer exist, especially in the Midtown area. The proliferation of "lunch counters" also illustrated the evolution of this city's eating habits. For every kosher "dairy lunch" joint that went down, it seems as though a Jamba Juice or Pink Berry has taken its place.
Man, it's hard not get sucked into reading about all these old places...looking forward to getting my copy of the book in a week or two.
Update: Glaser's co-author Jerome Snyder was also a designer...and no slouch either.
Legendary designer Paul Rand's Thoughts on Design is back in print for the first time since the 1970s. The new version, which will be out on Aug 19, is available for preorder and comes with a foreword by Michael Bierut.
One of the seminal texts of graphic design, Paul Rand's Thoughts on Design is now available for the first time since the 1970s. Writing at the height of his career, Rand articulated in his slender volume the pioneering vision that all design should seamlessly integrate form and function. This facsimile edition preserves Rand's original 1947 essay with the adjustments he made to its text and imagery for a revised printing in 1970, and adds only an informative and inspiring new foreword by design luminary Michael Bierut. As relevant today as it was when first published, this classic treatise is an indispensable addition to the library of every designer.
An extensive collection of book covers featuring books. Confused? Maybe an example will help:
I love these book posters by Gunter Rambow from the 1970s, especially this one:
Beginning this week, absolutely everything new that we publish -- the work in the print magazine and the work published online only -- will be unlocked. All of it, for everyone. Call it a summer-long free-for-all. Non-subscribers will get a chance to explore The New Yorker fully and freely, just as subscribers always have. Then, in the fall, we move to a second phase, implementing an easier-to-use, logical, metered paywall. Subscribers will continue to have access to everything; non-subscribers will be able to read a limited number of pieces -- and then it's up to them to subscribe. You've likely seen this system elsewhere -- at the Times, for instance -- and we will do all we can to make it work seamlessly.
Previously, only select articles from each issue were available for free online...everything else was for subscribers only. (Umlaats and extensive commas will be forever freely available on all the New Yorker's publishing platforms.) Longform has a solid list of their 25 favorite now-unlocked pieces.
See also: In Praise of Slow Design, a piece by Michael Bierut about The New Yorker's careful design evolution.
Audacity is a sound editing program, but it turns out you can open and edit image files with it. With varying results, mostly of the glitch art variety:
(via 5 intriguing things)
Somehow I lived in WI for the first 17 years of my life, was a Brewers fan for many of those years, and never realized the old Brewers logo contained the letters "m" and "b" hidden in the ball and glove.
Wow. If your mind is blowing right now too, there's a Facebook group we can join together: Best Day of My Life: When I Realized the Brewers Logo Was a Ball and Glove AND the Letters M and B. (via kathryn yu)
ps. If you've somehow missed the hidden arrow in the FedEx logo, here you go. Best kind of natural high there is.
The book cover for Naive Set Theory by Paul Halmos is so so good:
The cover is a riff on, I think, Russell's Paradox, a problem with naive set theory described by Bertrand Russell in 1901 about whether sets can contain themselves.
Russell's paradox is based on examples like this: Consider a group of barbers who shave only those men who do not shave themselves. Suppose there is a barber in this collection who does not shave himself; then by the definition of the collection, he must shave himself. But no barber in the collection can shave himself. (If so, he would be a man who does shave men who shave themselves.)
Reminds me of David Pearson's genius cover for Benjamin's The Work of Art in the Age of Mechanical Reproduction.
These maps, diagrams, and charts by John Philipps Emslie done in the mid-to-late 1800s are gorgeous.
Intrigued, I went searching for more examples. I loved this one just for pure compositional beauty:
And this lithograph from 1850 showing various machines of the time:
"A Type House Divided" is Jason Fagone's feature for New York magazine on former partners Jonathan Hoefler and Tobias Frere-Jones, who split up earlier this year after disagreeing about the nature of their partnership. (TFJ thought he was a fifty-fifty partner; Hoefler says he was an employee.)
While the story covers both sides of the dispute with detail and pathos, the most affecting bits treat how H & FJ worked together and the tiny details of the letters they made and loved:
At his computer, he drew an uppercase H, O, and D, because they contained flat and round elements that would determine how other letters looked. When he moved on to the G, the R, and the S, he started to deviate from the mathematical grid, hoping to give the font a subliminal playfulness. As he filled out the alphabet, the letters revealed a promising flexibility; if Frere-Jones set text in caps and spread the spacing out, the words felt authoritarian, imposing, and if he set them in lowercase and pulled the spacing in, they felt fresh and young. He tried to think of a name for the font that would showcase some of the more distinctive letters: the stark, powerful G; the circular o; the strange-tasting a. For a name, he thought about Goats, and Gomorrah. He finally settled on Gotham.
If the deep dive into the beauty and business of lettermaking doesn't grab you, the essay's packed with other-cultural analogies. My favorite is probably this: "According to a designer who used to work with Frere-Jones, his eye is so sharp that he can look at a printout of a letterform and tell if it's one pixel off, the same way Ted Williams was said to be able to hold a baseball bat and tell if it was a half-ounce too heavy."
Disclosure: Jason Fagone is my friend. Kottke.org uses Whitney Screensmart, a version of one of the fonts discussed in the article. Also one time Jonathan Hoefler got really mad at me because of a story I wrote about iPad magazines. The font people don't play.
Update: If you want to know just how much the font people don't play, I immediately was contacted by a friend to change "typographer" to "type designer." I've spent years writing about this, and if I ever manage to get all of the terms right, the universe will collapse on itself.
Apple recently announced their annual design awards for 2014. Some nice work there.
The portables and phones are especially interesting.
A giant in the world of design, Massimo Vignelli, passed away this morning at the age of 83. Michael Bierut, who worked for Vignelli, has a nice remembrance of him.
Today there is an entire building in Rochester, New York, dedicated to preserving the Vignelli legacy. But in those days, it seemed to me that the whole city of New York was a permanent Vignelli exhibition. To get to the office, I rode in a subway with Vignelli-designed signage, shared the sidewalk with people holding Vignelli-designed Bloomingdale's shopping bags, walked by St. Peter's Church with its Vignelli-designed pipe organ visible through the window. At Vignelli Associates, at 23 years old, I felt I was at the center of the universe.
One of the greatest designers in the world, Massimo Vignelli, is very sick and "will be spending his last days at home". His son is requesting that if you were influenced at all by Vignelli's work, you should send him a letter:
According to Pentagram partner Michael Bierut, "Luca said that Massimo would be thrilled to get notes of good wishes from people whom he's touched or influenced -- whether personally or remotely -- over the years. Luca has visions of huge mail bags full of letters. I know that one of Massimo's biggest fantasies has been to attend his own funeral. This will be the next best thing. Pass the word."
Here's the address:
130 East 67 Street
New York, New York 10021
Andrew Kim of Minimally Minimal got his hands on an original Sony Walkman and provides an interesting look back at a seminal piece of personal technology. Initially, the Walkman was billed as the "Walking Stereo with Hotline":
Next to the dual headphones is a button labeled "Hot Line". This was another key feature of the TPS-L2. When the user pressed the Hot Line button, the device would would override the music with audio from the built in microphone. It allowed you to listen to Subway announcements or talk to a friend without taking off your headphones. I find it to be a particularly clever idea as it uses existing parts from tape recorders. Hot Line wasn't really a sought after feature though, and was axed in later models.
The MoMA is hosting a series of debates on the intersection of design and violence. The first one took place last week and pitted Rob Walker against Cody Wilson on the topic of open source 3D printed guns. The next two center on a machine that simulates the "pain and tribulation" of menstruation and Temple Grandin's humane slaughterhouse designs.
The debates this spring will center upon the 3-D printed gun, The Liberator; Sputniko!'s Menstruation Machine; and Temple Grandin's serpentine ramp. Debate motions will be delivered by speakers who are directly engaged in issues germane to these contemporary designs -- the Liberator's designer Cody Wilson; Chris Bobel, author of New Blood: Third-Wave Feminism and the Politics of Menstruation, and distinguished professor of law Gary Francione, to name a few. We want them -- and you -- to explore the the limits of gun laws and rights, the democracy of open-source design, the (im)possibility of humane slaughter, and design that supports transgender empathy.
Tickets are still available; only $5 for students!
Legendary designer Milton Glaser (of I❤NY fame) critiques craft beer labels.
For her Uncomfortable Project, Katerina Kamprani redesigned useful objects; they're still technically functional but are a pain in the ass to use. Like this key:
Or this awkward broom:
A cool short documentary about neon sign making, a dying industry in Hong Kong.
As Jonathan Hoefler notes, the letters are designed so that the designers don't burn their hands while bending the glass over an 800°C flame.
The Grand Budapest Hotel is Wes Anderson's most design-y film, and that's really saying something. Typography is present in almost every frame; at times, it was almost oppressive. Creative Review interviewed designer Annie Atkins, who was responsible for the film's graphic design elements.
Oh my goodness, so many signs in the 1960s hotel lobby! I have to give credit to Liliana for this work, as she took care of nearly all of these. She had three sign-writers from Berlin painting non-stop for a week to get them all done in time for our first day of shoot, as that set was first up. Wes and Adam had seen so many examples of quite officious signage in what had been communist East Germany -- don't do this, don't do that, do this but only like that! The signs really added to the claustrophobic feeling of that set, and Wes had asked for them all to be black with simple white hand-painted lettering -- based on the style of the old sign at Yorckstrasse subway station in Berlin.