work of Brad Holland. his name is linked.
Especially those of you uber-hipsters, who think
you're too cool for school .... dare you to look !
Tuesday, September 28, 2010
Sunday, September 26, 2010
From the Heatherwick Studio in England, the UK
yes, it's a building. click the image to enlarge, it's amazing
Pavilion at the Shanghai Worlds Fair, 2010.
yes, it's a building. click the image to enlarge, it's amazing
D1 & D2 both, please watch this very short, interesting video
commemorating 40 years of editorial illustration at the, link
Wednesday, September 22, 2010
Palindrome
This new sign for the V&A is wonderful. The museum commissioned
Troika to make a sign for the tunnel connecting the museum and South
Kensington tube station, and it’s bloody gorgeous.
It’s a kinetic sculpture of rotating parts of the museum’s logo (in itself
a wonderful thing, by Alan Fletcher in 1989) so that it reads at first from one side, and then fromthe other. I did wonder at first whether the V& A on Fletcher’s original logo were actually rotationally symmetric, and no, of course they aren’t, but for a sculpture like this the alteration to make them work like that isn’t at all noticeable.
Go and watch the video (or of course, visit the museum instead of baking yourself in Cuba or Miami) to see it in action. It’s so simple and yet so clever, whoever came up with the idea must have been quite pleased with themselves, and justifiably so.
Tuesday, September 21, 2010
"Typografische Monatsblätter" is a Swiss
business magazine, dealing with questions of
printing and typography. Its frequency was
monthly formerly (hence the name!) and it is
still in print up to date – now on a bimonthly
basis.
"Typografische Monatsblätter" were founded
1933. Since 1952 they are published together
with "Schweizer Grafische Mitteilungen" and
"Revue Suisse de l’Imprimerie". TM discusses
questions of the developping printing technology,
also – and for designers all over the world even
more interesting: Swiss designers and especially
Swiss type designers were regularly writing in
the magazine.
The famous type-criticisms of Max Caflisch
were released here, Jan Tschichold or Adrian
Frutiger were repeatedly writing for TM. Best
known Swiss designers were contributing for
Helmut Schmidt, Hans Rudolf Lutz, Emil
Ruder – just to name a few.
Monday, September 20, 2010
Sunday, September 19, 2010
Wednesday, September 08, 2010
Peter Saville designs new England football jersey
Given the team's pathetic performance over the summer it's perhaps not
the best time to be asking long-suffering fans to shell out £49.99 ($80cdn) for
yet another new kit. In the accompanying press blurb, manufacturers Umbro
say that the design "takes its inspiration from the more formal classic shirts
of England’s footballing past. Umbro has developed a new longer, more
open neckline for the shirt, building on the square neckline that was designed
for the away shirt but allowing additional movement across the chest,
keeping its shape especially when a player is running."
Saville's contribution is somewhat minimalist. A graphic of multicoloured
crosses sits on the shoulders which is, apparently, "evocative of the basting
stitches synonymous with bespoke tailoring". They are also meant to represent
the diverse nature of modern English society, which should give the Daily Mail
plenty to get its teeth into.
England's footballers will be wearing a new home shirt for their match against
Bulgaria on September 3, (4 -0) for UK ya ! ) won in their Saville sweats.
To those complaining that he "did nothing", Saville's brief from Umbro was
strictly confined. He was asked to suggest some ways in which colour could be
incorporated into the design of the shirt (the basic look and shape of which
had already been determined) while still keeping it predominantly white.
To those of you complaining that the design won't be visible from the stands
... that's kind of the point. It looks all white from a distance, then the detail is
revealed close-up.
Saville's proposal was that the pattern of crosses would cover the entire shirt
and not just the shoulders.
A number of different geometric forms were considered by Saville and Paul Barnes,
who worked with him on the project, based on the micro dots and other symbols
that some menswear designers have been incorporating into their fabrics. Among
the shapes considered was a plus sign, which Barnes then suggested could be
transformed into the St George's cross.
Given the team's pathetic performance over the summer it's perhaps not
the best time to be asking long-suffering fans to shell out £49.99 ($80cdn) for
yet another new kit. In the accompanying press blurb, manufacturers Umbro
say that the design "takes its inspiration from the more formal classic shirts
of England’s footballing past. Umbro has developed a new longer, more
open neckline for the shirt, building on the square neckline that was designed
for the away shirt but allowing additional movement across the chest,
keeping its shape especially when a player is running."
Saville's contribution is somewhat minimalist. A graphic of multicoloured
crosses sits on the shoulders which is, apparently, "evocative of the basting
stitches synonymous with bespoke tailoring". They are also meant to represent
the diverse nature of modern English society, which should give the Daily Mail
plenty to get its teeth into.
England's footballers will be wearing a new home shirt for their match against
Bulgaria on September 3, (4 -0) for UK ya ! ) won in their Saville sweats.
To those complaining that he "did nothing", Saville's brief from Umbro was
strictly confined. He was asked to suggest some ways in which colour could be
incorporated into the design of the shirt (the basic look and shape of which
had already been determined) while still keeping it predominantly white.
To those of you complaining that the design won't be visible from the stands
... that's kind of the point. It looks all white from a distance, then the detail is
revealed close-up.
Saville's proposal was that the pattern of crosses would cover the entire shirt
and not just the shoulders.
A number of different geometric forms were considered by Saville and Paul Barnes,
who worked with him on the project, based on the micro dots and other symbols
that some menswear designers have been incorporating into their fabrics. Among
the shapes considered was a plus sign, which Barnes then suggested could be
transformed into the St George's cross.
Digital II - this is why (see video & links) we are going to make a collage ....
Bewilderingly, it's commonly overlooked and viewed as a simplistic, or clumsy way of working - but in actual fact - it's a fantastically creative tool, and a great method to make images, just ask Raoul Hausmann or Kurt Schwitters.
Collage, unlike so many other ways of working today - has at at its heart - improvisation - a kind of visual jazz - where you don't really know which way it will go or where it will end.
Make sure you make an effort to bring interesting source materials to class, as I will notice.
Capitu - Abertura from Carlos Bêla on Vimeo.
Bewilderingly, it's commonly overlooked and viewed as a simplistic, or clumsy way of working - but in actual fact - it's a fantastically creative tool, and a great method to make images, just ask Raoul Hausmann or Kurt Schwitters.
Collage, unlike so many other ways of working today - has at at its heart - improvisation - a kind of visual jazz - where you don't really know which way it will go or where it will end.
Make sure you make an effort to bring interesting source materials to class, as I will notice.
Capitu - Abertura from Carlos Bêla on Vimeo.
Credit Where Credits Are Due: The Present
It’s hard to imagine why these and the other exceptional title sequences have never been recognized by the Oscars. We would like to urge the academy to create this much-needed category. In the meantime, we’ve gone ahead and selected the title sequences that should have been nominated for 2008. During the nomination process, we happened upon an interesting trend: filmmakers, more and more, are plunging viewers right into the action and then ending with elaborate title sequences, which serve as epilogues or bonus tracks. Without further ado — or a badly scripted joke — our nominees for Best Achievement in Film Title Design:
It’s hard to imagine why these and the other exceptional title sequences have never been recognized by the Oscars. We would like to urge the academy to create this much-needed category. In the meantime, we’ve gone ahead and selected the title sequences that should have been nominated for 2008. During the nomination process, we happened upon an interesting trend: filmmakers, more and more, are plunging viewers right into the action and then ending with elaborate title sequences, which serve as epilogues or bonus tracks. Without further ado — or a badly scripted joke — our nominees for Best Achievement in Film Title Design:
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