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.
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 AlanFletcher 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.
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 theDaily 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.
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: