this is a private blog for my design students and assorted other survivors. Tro blemakers all
this is a private blog for my design students and assorted other survivors. Tro blemakers all.
this is a private blog for my design students and assorted other survivors. Tro blemakers all.
this is a private blog for my design students and assorted other survivors. Tro blemakers all.

Sunday, July 17, 2016

Japanese package circa 1880

Antique Japanese Shinto Gofu amulets 19 century  (Dealer: misakadou) – “An paper object” of various type (paper and wood) consisting of many Shinto GOFU amulets stuck on through very long years like snowballing, which was actually enshrined in local private house in Kinki region as its mysterious provenance. 
Edo-Meiji period. Giving us a glimpse of primitive Japanese piety by considering this size with such presence. In dry antique condition as fragile piece. approx. H 33 cm (12.99in), W 42.5 cm (16.73in), D 7 cm (2.75in) 


Friday, May 27, 2016

Tuesday, May 24, 2016

interesting baths



recentley scene

A Strange New (and Old) Typeface: Creating a Custom Font for Degas
Title wall of Edgar Degas: A Strange New Beauty at The Museum of Modern Art. Photo: Vanessa Lam
Title wall of Edgar Degas: A Strange New Beauty at The Museum of Modern Art. Photo: Vanessa Lam
Looking at the exhibition Edgar Degas: A Strange New Beautyone can immediately sense how strikingly modern the artworks feel, even after 120 years. Organized by senior curator Jodi Hauptman and curatorial assistant Heidi Hirschl, the show features the artist’s experimental and radical works that have rarely been attached to the widely conceived notion of “Degas” (two words: pink tutus).
For the graphic design of this exhibition, I felt compelled to create a custom typeface that blended these two sensibilities—historical leanings infused with a contemporary bent. Glyphic serifs were especially interesting, as their flared serifs placed them somewhere in that delicate balance between a traditional serif and a modern sans. In researching, I was greatly inspired by an old French type specimen from the turn of the century, the same period when Degas was experimenting with his unorthodox monotypes.
Character specimens by foundry Deberny & Peignot. Source: Museum of Printing and Graphic Communication, Lyon, France
Character specimens by foundry Deberny & Peignot. Source: Museum of Printing and Graphic Communication, Lyon, France
Though the example included only a handful of letters, it still served as an excellent starting point for creating a custom alphabet. The original font featured ornamental details that were verging on Art Nouveau, which were too dated looking for our purposes. I decided to keep the basic proportions of the original letters, but pare them down.
Top: Original inspiration; Bottom: Custom typeface
Top: Original inspiration; Bottom: Custom typeface
This included straightening out and simplifying aspects of the typeface that were perhaps too decorative. We didn’t want a typeface that was too frilly or soft, and it was important to maintain a bold and almost aggressive feel that could speak to the “strange new” spirit of the show. Below you can see the comparison of the inspiration image and the redrawn typeface.
Overlay of the original source inspiration with the new custom typeface
Overlay of the original source inspiration with the new custom typeface
Letter explorations and variations
Letter explorations and variations
After many tests and tweaks, I arrived at a finished product that felt like it spoke to the dark forms in the exhibition and also straddled the ambiguous line between old and new. It was historically inspired but not historical, which was essential in reflecting the ways that Degas approached, questioned, and pushed the conventions of his time.
The finished typeface
The finished typeface
Exhibition title wall. Photo: Vanessa Lam
Exhibition title wall. Photo: Vanessa Lam
Custom typeface in use inside the exhibition galleries. Photo: Vanessa Lam
Custom typeface in use inside the exhibition galleries. Photo: Vanessa Lam
ustom typeface used on title cards for the Degas video produced by the MoMA Digital Media team.

Saturday, April 30, 2016

43 rd vvvv video festival



I do have a question however .. the 43rd ?
isn't that a trifle ambitious ?

Wednesday, April 27, 2016


Saturday, April 23, 2016

nO. 445 en colour

Saturday, April 09, 2016

Rex Ray !

Rex Ray
San Francisco based fine artist, whose collages, paintings and design work have been exhibited at galleries and museums, including the The San Francisco Museum of Modern Art, and Los Angeles Contemporary Exhibitions.He is also a graphic designer. He has created work for Apple, Dreamworks, Sony Music, Warner Brothers, City Lights Publishers, Matador Records, Serpent's Tail, The New Museum of Contemporary Art, Rizzoli, Powerhouse, Mute Records and Crown Books. His package designs for David Bowie and tour posters for The Rolling Stones, Patti Smith, REM, Bjork, U2, and Radiohead.

things you need to see - No.334



Sunday, March 27, 2016

Friday, March 18, 2016

now, that's a book cover ..

Chronic City, design by Miriam Rosenbloom

Columbine, design by Henry Sene Yee

There Once Lived a Woman Who Tried to Kill Her 
Neighbor's Baby, design by Christopher Brand

Saturday, March 12, 2016

Coleoptera Maximus Groovy

portfolio ideas No.36