Classic records lost in time and format, re-emerged as Pelican books. Brilliant!
Labels: Design, Literature, Music
Thursday, September 24, 2009
Great Counterculture Logos - Part 11
While there are many references on the web stating that the Death's Head insignia was designed by long time "Frisco" Hells Angels President Frank Sadliek, Sadliek himself claims this is untrue. The image which appears on the membership card, as well as other Hells Angels ephemera, was drawn in 1953 by a man whose real name is lost or unknown, but was known to those at the time as "Sundown". Frank had the original printer's negative from which the "Frisco" Hells Angels membership cards were offset printed. This may be the reason for the attribution. The logo seems to have been inspired by the insignias of the 552nd Medium Bomber Squadron and the 85th Fighter Squadron from WWII (pictured above).
While there are many references on the web stating that the Death's Head insignia was designed by long time "Frisco" Hells Angels President Frank Sadliek, Sadliek himself claims this is untrue. The image which appears on the membership card, as well as other Hells Angels ephemera, was drawn in 1953 by a man whose real name is lost or unknown, but was known to those at the time as "Sundown". Frank had the original printer's negative from which the "Frisco" Hells Angels membership cards were offset printed. This may be the reason for the attribution. The logo seems to have been inspired by the insignias of the 552nd Medium Bomber Squadron and the 85th Fighter Squadron from WWII (pictured above).
Labels: Design, Great Counterculture Logos
Monday, August 31, 2009
The Human Variable
I was chatting with an architect friend of mine on the weekend — as we watched our one-year-old daughters unleash havoc upon the playground — about the social component of architecture, that as an architect you are responsible for creating an environment and that your design ultimately has a direct affect on how how people interact within it. He related to me two scenarios: The first one was of a courthouse that was rebuilt and after some time in the new building, it was noted that there were less instances of cases getting sorted out pre-trial, and so, as a result, the courts themselves were much busier. What was theorized was that the lobby of the old courthouse had been adorned with Neoclassical columns allowing for the attorneys from the two sides of a case to step aside and make discreet last minute negotiations that had thus avoided the need to stand before the judge. The new facility, with its cleaner more open entrance way, did not accommodate for such exchanges and therefore more people were doomed to have their day in court.
The 2nd example he gave was of a multi-disciplined research facility. The different departments had been originally quite segregated with separate entrance ways and staircases. But the new design featured a central staircase that all personnel used to access their labs. What began to happen was that researchers from different fields would run into each other coming and going from their days and, in the discussion that ensued, interdisciplinary connections and discoveries were suddenly being made that had previously gone completely unnoticed.
In thinking of these two scenarios this evening and how, just as in architecture, as web designers we can put up unintended barriers to information, or create unpredicted niche communities or a tool that gets used for an unforeseen purpose. What always needs to be accounted for is the human variable and despite all the efforts of content strategists and usability engineers, the main secret weapon in creating a successful website will always be flexibility and a willingness to adapt to your users' needs.
I was chatting with an architect friend of mine on the weekend — as we watched our one-year-old daughters unleash havoc upon the playground — about the social component of architecture, that as an architect you are responsible for creating an environment and that your design ultimately has a direct affect on how how people interact within it. He related to me two scenarios: The first one was of a courthouse that was rebuilt and after some time in the new building, it was noted that there were less instances of cases getting sorted out pre-trial, and so, as a result, the courts themselves were much busier. What was theorized was that the lobby of the old courthouse had been adorned with Neoclassical columns allowing for the attorneys from the two sides of a case to step aside and make discreet last minute negotiations that had thus avoided the need to stand before the judge. The new facility, with its cleaner more open entrance way, did not accommodate for such exchanges and therefore more people were doomed to have their day in court.
The 2nd example he gave was of a multi-disciplined research facility. The different departments had been originally quite segregated with separate entrance ways and staircases. But the new design featured a central staircase that all personnel used to access their labs. What began to happen was that researchers from different fields would run into each other coming and going from their days and, in the discussion that ensued, interdisciplinary connections and discoveries were suddenly being made that had previously gone completely unnoticed.
In thinking of these two scenarios this evening and how, just as in architecture, as web designers we can put up unintended barriers to information, or create unpredicted niche communities or a tool that gets used for an unforeseen purpose. What always needs to be accounted for is the human variable and despite all the efforts of content strategists and usability engineers, the main secret weapon in creating a successful website will always be flexibility and a willingness to adapt to your users' needs.
Labels: Architecture, Design
Wednesday, August 27, 2008
On Brakhage
"Working in the early 1960s with wide strips of cellophane packing tape, Brakhage captured fleeting things — among them, blades of grass, pieces of flower petals, dust, dirt and the diaphanous, decapitated wings from insects. His process revolved around using the tape to produce a series of facsimile filmstrips: wider than the elegant Super-8 that was his hallmark medium (Mothlight, a mere three minutes in length, was actually shot on 16mm) but long and geometric: they're a suite of attenuated rectangular portraits. The idea of using adhesive tape as a photographic medium (which is effectively what it is, capturing something in time on a single surface) represents the kind of visual simplicity — indeed, the sheer brilliance — of one man's indefatigable effort to visualize an idea. It is, in a word, astonishing."
–Jessica Helfand
"Stan Brakhage: Caught on Tape"
View "Mothlight" here.
–Jessica Helfand
"Stan Brakhage: Caught on Tape"
View "Mothlight" here.
Tuesday, May 13, 2008
Joshua Davis On Pollock & Dynamic Abstraction
“Among modern artists I conceptually identify with Jackson Pollock - not that I’m a particular fan of his visual style, but because he always identified himself as a painter, even though a lot of the time his brush never hit the canvas. There’s something in that disconnect - not using a brush or tool in traditional methods."
and
“Pollock might argue that it’s the process of abstraction that’s dynamic, not the end result, which in his case is a static painting. In my own work, the end result is never static; by making room for as many anomalies as possible, every composition generated by the programs we write is unique to itself. I’ll program the “brushes,” the “paints,” the “strokes,” the “rules”, and the “boundaries”. However it is the software that creates the compositions — the programs draw themselves. I am in a constant state of surprise and discovery, because the program may structure compositions that I may never have thought of to execute or might take me hours to create manually.”
-Joshua Davis
“Among modern artists I conceptually identify with Jackson Pollock - not that I’m a particular fan of his visual style, but because he always identified himself as a painter, even though a lot of the time his brush never hit the canvas. There’s something in that disconnect - not using a brush or tool in traditional methods."
and
“Pollock might argue that it’s the process of abstraction that’s dynamic, not the end result, which in his case is a static painting. In my own work, the end result is never static; by making room for as many anomalies as possible, every composition generated by the programs we write is unique to itself. I’ll program the “brushes,” the “paints,” the “strokes,” the “rules”, and the “boundaries”. However it is the software that creates the compositions — the programs draw themselves. I am in a constant state of surprise and discovery, because the program may structure compositions that I may never have thought of to execute or might take me hours to create manually.”
-Joshua Davis
Labels: Design, Edge of Chaos
Tuesday, April 15, 2008
Criterion's Mishima
I was quite taken tonight by the cover of Criterion's re-issue of Paul Schrader's Mishima. Interestingly, from what I've found online, not everyone approves, my favourite pan being "this thing reminds me of the make-up gun that Homer invented in that Simpsons episode."
The design is by Tadanori Yokoo, a Japanese graphic designer, illustrator, printmaker and painter who was not just a contemporary of Mishima's but also a friend and collaborator (he actually makes a brief appearance in the movie). All of which makes his contribution of the DVD art appropriate not to mention that his design and art are fantastic. A decent survey of his work can be found with a Flickr search.
I was quite taken tonight by the cover of Criterion's re-issue of Paul Schrader's Mishima. Interestingly, from what I've found online, not everyone approves, my favourite pan being "this thing reminds me of the make-up gun that Homer invented in that Simpsons episode."
The design is by Tadanori Yokoo, a Japanese graphic designer, illustrator, printmaker and painter who was not just a contemporary of Mishima's but also a friend and collaborator (he actually makes a brief appearance in the movie). All of which makes his contribution of the DVD art appropriate not to mention that his design and art are fantastic. A decent survey of his work can be found with a Flickr search.
Tuesday, January 29, 2008
Shepard Fairey Supports Barack Obama
Tuesday, January 22, 2008
The Tokyo Graffiti Scene
For some time now, I have been on the lookout for examples of Japanese street art. The uncanny means by which Japan adapts Western culture, reprocesses it and then spins it out as something altogether hyperreal, combined with the ever-prevalent superflat movement suggested that there must exist something extraordinary in the darker corners of the Tokyo streets.
So it was great to read PingMag's recent piece on The Ghetto, a former love hotel in Shin-Okubo that has been converted into a skater shop/graffiti space. The article also provided links to flickr groups on Tokyo Street Art and throughout Japan. But I found what I was truly looking for in the calligraphy of designer/artist USUGROW which is an incredible hybrid of not just Western and Japanese scripts but also Arabic influences. Kakkoii desu yo!
For some time now, I have been on the lookout for examples of Japanese street art. The uncanny means by which Japan adapts Western culture, reprocesses it and then spins it out as something altogether hyperreal, combined with the ever-prevalent superflat movement suggested that there must exist something extraordinary in the darker corners of the Tokyo streets.
So it was great to read PingMag's recent piece on The Ghetto, a former love hotel in Shin-Okubo that has been converted into a skater shop/graffiti space. The article also provided links to flickr groups on Tokyo Street Art and throughout Japan. But I found what I was truly looking for in the calligraphy of designer/artist USUGROW which is an incredible hybrid of not just Western and Japanese scripts but also Arabic influences. Kakkoii desu yo!
Labels: Art, Design, illustration, Japan, Street Level, Superflat, Typography
Tuesday, November 20, 2007
Visualizing Data for the Masses
Searching for examples of info graphics from the New York Times, I found this great collection of work by Megan Jaegerman (on Tufte's site no less). Also worth checking out: Matthew Ericson, the Deputy Graphics Director at the NY Times, recently gave the keynote at an info graphics conference in California. You can download the slides (pdf) for this presentation titled “Visualizing Data for the Masses: Information Graphics at The New York Times”. (all of this via: db79.com)
Searching for examples of info graphics from the New York Times, I found this great collection of work by Megan Jaegerman (on Tufte's site no less). Also worth checking out: Matthew Ericson, the Deputy Graphics Director at the NY Times, recently gave the keynote at an info graphics conference in California. You can download the slides (pdf) for this presentation titled “Visualizing Data for the Masses: Information Graphics at The New York Times”. (all of this via: db79.com)
Labels: Design, Edge of Chaos, NY Times
Wednesday, November 14, 2007
The Virtual Water Project
"The water footprint of a person, company or nation is defined as the total volume of freshwater that is used to produce the commodities, goods and services consumed by the person, company or nation."
Designer Timm Kekeritz creates something tangible (and beautiful) through his poster design for The Virtual Water Project.
"The water footprint of a person, company or nation is defined as the total volume of freshwater that is used to produce the commodities, goods and services consumed by the person, company or nation."
Designer Timm Kekeritz creates something tangible (and beautiful) through his poster design for The Virtual Water Project.
Labels: Design, Design Can Change the World, Edge of Chaos
Friday, November 02, 2007
Let's Get Ready To Rumble..
Not since Rob Feenie took down Masaharu Morimoto in Kitchen Stadium to become Canada's Iron Chef has one of our local darlings entered a battle of such epic proportions.
Today, center court at Coudal.com's Layer Tennis:
Bantjes vs. Vit
Not since Rob Feenie took down Masaharu Morimoto in Kitchen Stadium to become Canada's Iron Chef has one of our local darlings entered a battle of such epic proportions.
Today, center court at Coudal.com's Layer Tennis:
Bantjes vs. Vit
Labels: Design
Saturday, August 11, 2007
Great Counterculture Logos - Part 9
The Steal Your Face logo by Bob Thomas and the infamous LSD chemist Augustus Owsley Stanley.
From Rolling Stone's 40th Anniversary Summer of Love Special Edition (July 12 - 26 2007), Robert Greenfield* writes:
"While driving to work one day in his MG, Owsley saw an orange and blue logo with a white bar across it on a building. He thought it would look cool if the logo was red and blue with a white lightning bolt through it, so he had someone spray-paint a basic version of it on the Dead's equipment. He then talked to Bob Thomas about putting the lightning bolt through the words "Grateful Dead" in lettering, which from a distance would look like a skull. Together, they devised the "Steal Your Face" logo (a.k.a. "the stealie"). Thomas, who died in 1993, sold it to the band as a letterhead for $250, meaning that neither he nor Owsley ever saw a dime from all those Deadhead stickers on the rear bumpers of Volkswagen buses."
The Steal Your Face logo by Bob Thomas and the infamous LSD chemist Augustus Owsley Stanley.
From Rolling Stone's 40th Anniversary Summer of Love Special Edition (July 12 - 26 2007), Robert Greenfield* writes:
"While driving to work one day in his MG, Owsley saw an orange and blue logo with a white bar across it on a building. He thought it would look cool if the logo was red and blue with a white lightning bolt through it, so he had someone spray-paint a basic version of it on the Dead's equipment. He then talked to Bob Thomas about putting the lightning bolt through the words "Grateful Dead" in lettering, which from a distance would look like a skull. Together, they devised the "Steal Your Face" logo (a.k.a. "the stealie"). Thomas, who died in 1993, sold it to the band as a letterhead for $250, meaning that neither he nor Owsley ever saw a dime from all those Deadhead stickers on the rear bumpers of Volkswagen buses."
Labels: Design, Great Counterculture Logos, Sixties
Thursday, July 12, 2007
When the routine bites hard
From Visual Complexity:
"Using information design principles and graphical techniques, the 85+ recorded covers of Joy Division's "Love Will Tear Us Apart" is mapped in relation to the original recordings by the band."
The requisite soundtrack...
...and the trailer for Anton Corbijn's Control.
From Visual Complexity:
"Using information design principles and graphical techniques, the 85+ recorded covers of Joy Division's "Love Will Tear Us Apart" is mapped in relation to the original recordings by the band."
The requisite soundtrack...
...and the trailer for Anton Corbijn's Control.
Labels: Design, Edge of Chaos, Music
Friday, May 18, 2007
Great Counterculture Logos - Part 8
My friend West keenly observes that it is a rare case to see a street kid downtown that doesn't bare some form of the Misfits skull, which is how the logo came to be the 8th addition in our ongoing series Great Counterculture Logos. As for its own origins, the image was adapted by Glenn Danzig from The Crimson Ghost, a 1946 movie serial about a cloaked villain's attempts to obtain a counter atomic device known as Cyclotrode X.
My friend West keenly observes that it is a rare case to see a street kid downtown that doesn't bare some form of the Misfits skull, which is how the logo came to be the 8th addition in our ongoing series Great Counterculture Logos. As for its own origins, the image was adapted by Glenn Danzig from The Crimson Ghost, a 1946 movie serial about a cloaked villain's attempts to obtain a counter atomic device known as Cyclotrode X.
Labels: Design, Great Counterculture Logos
Tuesday, April 24, 2007
Great Counterculture Logos - Part 7
The Revelation Records logo by...well, a few different people actually. Jordan Cooper explains:
We used stars on the first few releases as a background which was Ray's idea. He liked how Dangerhouse had black and yellow bars as their background on the labels so he wanted us to have something to identify Rev with like that. We got a Letraset sheet of stars and used it on the first three records we put out. The fourth record was going to be the Gorilla Biscuits 7" and their friend (who would later join the band as a second guitar player), Alex Brown offered to do the layout for them. Alex took the star concept and put the letter "r" in a star and had the label name under it inside a box. Ray, Alex and Porcell all lived together in Brooklyn at the time so Ray saw the artwork before I did. He really liked the idea and called me to tell me about it. From his description over the phone I re-created it. That was the logo we ended up using because we had already used it on a few things (probably flyers, catalogs and ads). We used it on the GB 7" and the Side By Side and No For An Answer records and repressings of the Sick Of It All 7" too. Then we were working with Dave Bett at our main distributor Important on the layout for the New York City Hardcore - The Way It Is compilation and he offered to clean it up for us. He did and that's basically the logo we've been using ever since.
The Revelation Records logo by...well, a few different people actually. Jordan Cooper explains:
We used stars on the first few releases as a background which was Ray's idea. He liked how Dangerhouse had black and yellow bars as their background on the labels so he wanted us to have something to identify Rev with like that. We got a Letraset sheet of stars and used it on the first three records we put out. The fourth record was going to be the Gorilla Biscuits 7" and their friend (who would later join the band as a second guitar player), Alex Brown offered to do the layout for them. Alex took the star concept and put the letter "r" in a star and had the label name under it inside a box. Ray, Alex and Porcell all lived together in Brooklyn at the time so Ray saw the artwork before I did. He really liked the idea and called me to tell me about it. From his description over the phone I re-created it. That was the logo we ended up using because we had already used it on a few things (probably flyers, catalogs and ads). We used it on the GB 7" and the Side By Side and No For An Answer records and repressings of the Sick Of It All 7" too. Then we were working with Dave Bett at our main distributor Important on the layout for the New York City Hardcore - The Way It Is compilation and he offered to clean it up for us. He did and that's basically the logo we've been using ever since.
Labels: American Hardcore, Design, Great Counterculture Logos, Music, Street Level
Saturday, March 24, 2007
Great Counterculture Logos - Part 6
The Public Image Ltd logo by Dennis Morris and John Lydon.
The Public Image Ltd logo by Dennis Morris and John Lydon.
Labels: Design, Great Counterculture Logos, Music
Wednesday, March 21, 2007
Hey Punx! Plan Ahead.
A great collection of punk rock flyers from the early 80's to the present.
A great collection of punk rock flyers from the early 80's to the present.
Labels: American Hardcore, Design, Music, Street Level
Thursday, March 15, 2007
Who would win?
It started as a joke during the research phase of a current project, but I was just informed that my t-shirt design Puma Vs. Unicorn has passed the Threadless submission phase and is now up for voting in the public sphere. Help make this shirt a reality. Vote now. Or at the very least chime in on who you think would win a battle of such mythic proportions.
It started as a joke during the research phase of a current project, but I was just informed that my t-shirt design Puma Vs. Unicorn has passed the Threadless submission phase and is now up for voting in the public sphere. Help make this shirt a reality. Vote now. Or at the very least chime in on who you think would win a battle of such mythic proportions.
Labels: Design, Shameless Self Promotion
Monday, February 05, 2007
Edge of Chaos
As a followup to yesterday's entry:
"Functional visualizations are more than innovative statistical analyses and computational algorithms. They must make sense to the user and require a visual language system that uses colour, shape, line, hierarchy and composition to communicate clearly and appropriately, much like the alphabetic and character-based languages used worldwide between humans."
Matt Woolman
Digital Information Graphics
As a followup to yesterday's entry:
"Functional visualizations are more than innovative statistical analyses and computational algorithms. They must make sense to the user and require a visual language system that uses colour, shape, line, hierarchy and composition to communicate clearly and appropriately, much like the alphabetic and character-based languages used worldwide between humans."
Matt Woolman
Digital Information Graphics
Labels: Design, Design Can Change the World, Edge of Chaos, World at Large
Wednesday, January 24, 2007
Great Counterculture Logos - Part 4
The Skull Skates Logo by Peter Ducommun.
Peter Ducommun (PD) writes:
the skull portion of the logo was originally cut from grip tape with an exacto knife which gave the design a jagged look ...the black and white shadowed skull mimics the yin yang symbol which was actually our companies' original mark al a town and country surf designs... the connected letters symbolize the flow of skating... the broken strokes of the "E" are a take off on the ancient I ching tri-gram meaning the creative...the skull was chosen for the universal connection [we all have one] and as a representation of the inevitability of death...skates because we always considered our self "skaters" rather than the more stodgy term "skateboarders"
...our friend jesus came up with a more complete interpretation of the mark on our site in the articles section under the title " subliminal imagery"
=pd=
The Skull Skates Logo by Peter Ducommun.
Peter Ducommun (PD) writes:
the skull portion of the logo was originally cut from grip tape with an exacto knife which gave the design a jagged look ...the black and white shadowed skull mimics the yin yang symbol which was actually our companies' original mark al a town and country surf designs... the connected letters symbolize the flow of skating... the broken strokes of the "E" are a take off on the ancient I ching tri-gram meaning the creative...the skull was chosen for the universal connection [we all have one] and as a representation of the inevitability of death...skates because we always considered our self "skaters" rather than the more stodgy term "skateboarders"
...our friend jesus came up with a more complete interpretation of the mark on our site in the articles section under the title " subliminal imagery"
=pd=
Labels: Design, Great Counterculture Logos, Skateboarding, Street Level
Saturday, January 06, 2007
Great Counterculture Logos - Part 3
The Public Enemy logo by Carlton Douglas Ridenhour, aka Chuck D.
The Public Enemy logo by Carlton Douglas Ridenhour, aka Chuck D.
Labels: Design, Great Counterculture Logos, Music, Street Level
Tuesday, January 02, 2007
DMZ
There's nothing quite like starting off the new year with a little post-apocalyptic anarchy care of Brian Wood's beautifully rendered graphic series DMZ, in which the U.S. has plunged back into civil war, and Manhattan serves as the figurative "line in the sand". The first issue can be downloaded for free from Vertigo.
More of his work, including links to other comics can be found on his website, brianwood.com.
There's nothing quite like starting off the new year with a little post-apocalyptic anarchy care of Brian Wood's beautifully rendered graphic series DMZ, in which the U.S. has plunged back into civil war, and Manhattan serves as the figurative "line in the sand". The first issue can be downloaded for free from Vertigo.
More of his work, including links to other comics can be found on his website, brianwood.com.
Labels: Design, graphic novels, illustration
Tuesday, December 05, 2006
Great Counterculture Logos - Part 2
Wednesday, November 22, 2006
Great Counterculture Logos - Part 1
The Black Flag logo by Raymond Pettibon.
The Black Flag logo by Raymond Pettibon.
Labels: American Hardcore, Design, Great Counterculture Logos, Music, Raymond Pettibon, Street Level
Wednesday, October 25, 2006
It is not only fine feathers...
"I've been somewhat disappointed with my creative output as of late. So, with a day off of client work, I set out this morning to make something interesting before the end of the day."
So begins Jer Thorp's entry over at blprnt introducing his latest personal Flash project, Plumage which takes a Flickr tag and creates a set of feathers from the colour data in the image. Very cool.
"I've been somewhat disappointed with my creative output as of late. So, with a day off of client work, I set out this morning to make something interesting before the end of the day."
So begins Jer Thorp's entry over at blprnt introducing his latest personal Flash project, Plumage which takes a Flickr tag and creates a set of feathers from the colour data in the image. Very cool.
Labels: Collaborators, Design, Edge of Chaos
Tuesday, September 12, 2006
Future by Design
Jacque Fresco designs the civilizations of the future; and in the process, he defines how the human race will need to change in order to get there.
Jacque Fresco designs the civilizations of the future; and in the process, he defines how the human race will need to change in order to get there.
Labels: Architecture, Design, Design Can Change the World, Great Thinking
Wednesday, August 30, 2006
Link Trolling: Brazil
From Diplo's Mad Decent Worldwide Radio: "its crazy here in Rio.. guns go missing and police go to war with poor people and then i get kicked out of my apt and i got no internet access.. but heres a random mix."
It was Diplo's show with Brazilian acts, Cansei de Ser Sexy (who win the title of Dance Hit of the Summer with the brilliant "Let's Make Love and Listen to Death From Above") and Bonde do Role a few weeks ago at Celebrities here in Vancouver that first made me take notice and begin to wonder "what the heck is going on in Brazil?" The energy from both of these bands was raw and unrefined. These were acts that would never have seen the outside of the Brazilian club scene if it weren't for MySpace.com and the endorsement of a worldclass dj like Diplo who, it seems has made Rio his second home.
Another discovery via Diplo that churned up while surfing the net this evening: the work of Leandro HBL, a director, photographer, designer etc. who did some time at Fabrica. Great, great work.
The next stop on my journey, an old favorite: the fantastic art of Alexandre Orion, which combines street art and photography to create often comic and poignant stories. This led me to consult a source who knows far better than me of other instances of Brazilian street art which ultimately brought an end to my surf as I settled in with this enchanting video entitled "Brilliant Tyger".
Whew! So the answer to "What the heck is going on in Brazil?", it would seem a whole heck of a lot!
From Diplo's Mad Decent Worldwide Radio: "its crazy here in Rio.. guns go missing and police go to war with poor people and then i get kicked out of my apt and i got no internet access.. but heres a random mix."
It was Diplo's show with Brazilian acts, Cansei de Ser Sexy (who win the title of Dance Hit of the Summer with the brilliant "Let's Make Love and Listen to Death From Above") and Bonde do Role a few weeks ago at Celebrities here in Vancouver that first made me take notice and begin to wonder "what the heck is going on in Brazil?" The energy from both of these bands was raw and unrefined. These were acts that would never have seen the outside of the Brazilian club scene if it weren't for MySpace.com and the endorsement of a worldclass dj like Diplo who, it seems has made Rio his second home.
Another discovery via Diplo that churned up while surfing the net this evening: the work of Leandro HBL, a director, photographer, designer etc. who did some time at Fabrica. Great, great work.
The next stop on my journey, an old favorite: the fantastic art of Alexandre Orion, which combines street art and photography to create often comic and poignant stories. This led me to consult a source who knows far better than me of other instances of Brazilian street art which ultimately brought an end to my surf as I settled in with this enchanting video entitled "Brilliant Tyger".
Whew! So the answer to "What the heck is going on in Brazil?", it would seem a whole heck of a lot!
Labels: Design, Music, Photography, Podcast, Street Level, World at Large
Monday, August 21, 2006
First Person Shooter Glasses
Sunday, August 13, 2006
That's Great Bass!
The classic movie titles of legendary designer Saul Bass brought to you by my new favourite site, Not Coming to a Theatre Near You.
(Indirectly via Coudal.)
The classic movie titles of legendary designer Saul Bass brought to you by my new favourite site, Not Coming to a Theatre Near You.
(Indirectly via Coudal.)
Labels: Design, Film, Title Sequences
Friday, August 11, 2006
The Whimsical Work of Marian Bantjes
I always tend to venture beyond the local borders when it comes to searching for inspiration, looking to what is big in Japan, or germinating in the New York streets or rising out of Europe. So it was a pleasant surprise to find myself spending a good chunk of my afternoon pouring over the work of local designer Marian Bantjes.
With a whimsical and organic style that suggests that she spends more time with a pen and paper than in front of a computer screen, Marian has been described by Stefan Sagmeister as "one of the most innovative typographers working today" and the legendary typographer Doyald Young told me that he has "only the greatest admiration for her work".
You can read more about Marian Bantjes on Design Boom and be sure to check out her work on the cover and an 8 page spread of the July/August edition of Print Magazine.
I always tend to venture beyond the local borders when it comes to searching for inspiration, looking to what is big in Japan, or germinating in the New York streets or rising out of Europe. So it was a pleasant surprise to find myself spending a good chunk of my afternoon pouring over the work of local designer Marian Bantjes.
With a whimsical and organic style that suggests that she spends more time with a pen and paper than in front of a computer screen, Marian has been described by Stefan Sagmeister as "one of the most innovative typographers working today" and the legendary typographer Doyald Young told me that he has "only the greatest admiration for her work".
You can read more about Marian Bantjes on Design Boom and be sure to check out her work on the cover and an 8 page spread of the July/August edition of Print Magazine.
Labels: Design, Japan, Typography
Thursday, June 29, 2006
News from the Industrial Brand Frontlines
• As a follow-up to my review of Vidfest, I met up with Ben Burden Smith, the producer of Tony Hawk and the Boom Boom Sabotage after its world premiere screening and got his take on what is was like working with the Hawk, the local pros, and the challenges of capturing all of the action for 3D. The interview has been posted on the Industrial Brand Blog.
• Also, it seems that the Industrial Brand Blog has won another award. Well, two in fact from Portfolios.com. We received a Bronze for Best Corporate Blog and a Merit for Best Self Promotional Blog.
• Finally, I just learned that I am going to be going down to Seattle, once again as a correspondent for TAXI Design to cover the ICOGRADA convention from the 9 - 15 July 2006. My attourney has advised me to rent a very fast car with no top...
• As a follow-up to my review of Vidfest, I met up with Ben Burden Smith, the producer of Tony Hawk and the Boom Boom Sabotage after its world premiere screening and got his take on what is was like working with the Hawk, the local pros, and the challenges of capturing all of the action for 3D. The interview has been posted on the Industrial Brand Blog.
• Also, it seems that the Industrial Brand Blog has won another award. Well, two in fact from Portfolios.com. We received a Bronze for Best Corporate Blog and a Merit for Best Self Promotional Blog.
• Finally, I just learned that I am going to be going down to Seattle, once again as a correspondent for TAXI Design to cover the ICOGRADA convention from the 9 - 15 July 2006. My attourney has advised me to rent a very fast car with no top...
Labels: Collaborators, Design, Industrial Brand Creative, Shameless Self Promotion
Sunday, June 25, 2006
Zen, Kafka and Typography
"For many, including myself, the voice at the start of "The Trees" belongs to Kafka's letters themselves, speaking directly to the reader: "we are like tree trunks in the snow." Picture a field after a recent snowfall."
A beautiful article by Rob Giampietro on the relationship of Zen Buddhism, Franz Kafka and typography over at the newly redesigned Design Observer.
"For many, including myself, the voice at the start of "The Trees" belongs to Kafka's letters themselves, speaking directly to the reader: "we are like tree trunks in the snow." Picture a field after a recent snowfall."
A beautiful article by Rob Giampietro on the relationship of Zen Buddhism, Franz Kafka and typography over at the newly redesigned Design Observer.
Labels: Asia, Design, Literature
Updates
I've made a few changes to the site over the past week, flipping the layout of the homepage so that the nav now sits to the right; combining the primary and secondary navigation into one column in the writing section; and giving the portfolio pages a vertical structuring that is more consistent to the other pages (not to mention solving a really annoying menu structure).
I'm still in the process of debugging but if you notice anything peculiar please send it my way. Otherwise, positive feedback is always welcome. :)
I'm still in the process of debugging but if you notice anything peculiar please send it my way. Otherwise, positive feedback is always welcome. :)
Labels: Design
Monday, June 05, 2006
Crucial Viewing: Beautiful Losers
A documentary on the artistic subculture that emerged in the early 1990's influenced by skateboading, grafitti, pop culture and the D.I.Y. aesthetic.
A documentary on the artistic subculture that emerged in the early 1990's influenced by skateboading, grafitti, pop culture and the D.I.Y. aesthetic.
Labels: Art, Crucial Viewing, Design, Street Level
Monday, April 03, 2006
Eriko Horiki - Washi as Architecture
Washi is a traditional paper made in Japan using fibers from the bark of the gampi tree, the mitsumata shrub, or the paper mulberry but can also be made using bamboo, hemp, rice, and wheat. It is everywhere in Japan. But the structures that Eriko Horiki creates with this paper are anything but common or traditional.
From giant glowing installations to smaller organic lamps to the stage art for cellist Yo-Yo Ma, Eriko and her team are reinventing this 1000-year-old craft, by developing advanced production methods that cope with today's architectural and lifestyle demands. The results are magical, inspiring and, it goes without saying, illuminating.
If you are in the Vancouver area, you can find Eriko's work at Kozai Designs at 1515 West 6th Ave.
Washi is a traditional paper made in Japan using fibers from the bark of the gampi tree, the mitsumata shrub, or the paper mulberry but can also be made using bamboo, hemp, rice, and wheat. It is everywhere in Japan. But the structures that Eriko Horiki creates with this paper are anything but common or traditional.
From giant glowing installations to smaller organic lamps to the stage art for cellist Yo-Yo Ma, Eriko and her team are reinventing this 1000-year-old craft, by developing advanced production methods that cope with today's architectural and lifestyle demands. The results are magical, inspiring and, it goes without saying, illuminating.
If you are in the Vancouver area, you can find Eriko's work at Kozai Designs at 1515 West 6th Ave.
Labels: Asia, Design, Japan, Vancouver Galleries
Wednesday, March 29, 2006
Art by Number
SIGGRAPH hosted a talk this evening called Art by Number:Generating Dynamic Art with Flash with presenters Jeremy Thorp of Blprnt.com and Gary Stasiuk of Liquidjourney.com. I am a hack coder at best so I should let the work speak for itself, although I do suggest checking out Jer's DarwInstrument which essentially applies a combination of genetic theory, selection of the fittest and mutant variables to the evolution of a more pleasing musical sound -- yeah, exactly.
I won't pretend that I know what I'm talking about here but I do love the art and the philosophy behind it. Anyone who has read "Chaos" by James Gleik will have an understanding of how complexity is responsible for the patterns of nature; and anyone who is an artist will know what I mean when I refer to the "happy accident". Both of these ideas play a role in Generative Art. It is a matter of setting initial conditions without a predetermined outcome and then observing what becomes of the end result.
There are a great number of artists that are practicing similar forms of generative art. I have been a fan of Joshua Davis' algorithmic creations for years and his recent collaboration with BMW is pretty damn cool. As is the work of Jared Tarbell of which I blogged about a few months back.
But what caught my attention the most this evening was a reference by Jer to the artist Manfred Mohr, who was creating beautiful and minimalistic computer-generated algorithmic art as early as 1969. Considering the direction that we have since taken in our culture and techonology, it is amazing that Mohr has not earned a more recognized place amongst the great artists of the 20th Century.
SIGGRAPH hosted a talk this evening called Art by Number:Generating Dynamic Art with Flash with presenters Jeremy Thorp of Blprnt.com and Gary Stasiuk of Liquidjourney.com. I am a hack coder at best so I should let the work speak for itself, although I do suggest checking out Jer's DarwInstrument which essentially applies a combination of genetic theory, selection of the fittest and mutant variables to the evolution of a more pleasing musical sound -- yeah, exactly.
I won't pretend that I know what I'm talking about here but I do love the art and the philosophy behind it. Anyone who has read "Chaos" by James Gleik will have an understanding of how complexity is responsible for the patterns of nature; and anyone who is an artist will know what I mean when I refer to the "happy accident". Both of these ideas play a role in Generative Art. It is a matter of setting initial conditions without a predetermined outcome and then observing what becomes of the end result.
There are a great number of artists that are practicing similar forms of generative art. I have been a fan of Joshua Davis' algorithmic creations for years and his recent collaboration with BMW is pretty damn cool. As is the work of Jared Tarbell of which I blogged about a few months back.
But what caught my attention the most this evening was a reference by Jer to the artist Manfred Mohr, who was creating beautiful and minimalistic computer-generated algorithmic art as early as 1969. Considering the direction that we have since taken in our culture and techonology, it is amazing that Mohr has not earned a more recognized place amongst the great artists of the 20th Century.
Labels: Art, Collaborators, Design, Edge of Chaos
Tuesday, March 21, 2006
No More Colouring Contests
It was interesting timing when I first made contact with Catherine Morley (Cat) a few weeks back. I had submitted my site for consideration at designers-who-blog.com and received some very positive and encouraging feedback from Cat. I also became privy to her most recent project and passion: the NO!SPEC crusade.
This hit very close to home. The Canadian design community was recently looking down just such a barrel when the Design Exchange in collaboration with the Department of Canadian Heritage released a speculative national competition for the redesign of the Canadian Cultural Gateway Website. A number of the more vocal outlets (including our own over at Industrial Brand) immediately called foul. In fact, it was the commentary posted over at Slashdot's ideasonideas that served as the final straw for Cat and spurred her on to creating the NO!SPEC movement.
And a movement is exactly what it seems to be shaping into. It appears that this time around, the design community is not only circling our wagons, but we're also packing a hell of an arsenal. What it comes down to is that it is no longer acceptable for a company or organization to presume that it has the right to ask for a designer's time and talent without the guarantee of proper payment. Simple as that.
So be sure to check out the NO!SPEC site, learn more about the crusade, have your say and pass it on to others. "It is time to take a stand!"
It was interesting timing when I first made contact with Catherine Morley (Cat) a few weeks back. I had submitted my site for consideration at designers-who-blog.com and received some very positive and encouraging feedback from Cat. I also became privy to her most recent project and passion: the NO!SPEC crusade.
This hit very close to home. The Canadian design community was recently looking down just such a barrel when the Design Exchange in collaboration with the Department of Canadian Heritage released a speculative national competition for the redesign of the Canadian Cultural Gateway Website. A number of the more vocal outlets (including our own over at Industrial Brand) immediately called foul. In fact, it was the commentary posted over at Slashdot's ideasonideas that served as the final straw for Cat and spurred her on to creating the NO!SPEC movement.
And a movement is exactly what it seems to be shaping into. It appears that this time around, the design community is not only circling our wagons, but we're also packing a hell of an arsenal. What it comes down to is that it is no longer acceptable for a company or organization to presume that it has the right to ask for a designer's time and talent without the guarantee of proper payment. Simple as that.
So be sure to check out the NO!SPEC site, learn more about the crusade, have your say and pass it on to others. "It is time to take a stand!"
Labels: Design, Design Can Change the World, Shameless Self Promotion
Friday, March 10, 2006
The Art of the Letter
You know that you are a true design geek when you are listening to Doyald Young recount the moment in 1950's Paris when Adrian Frutiger showed him the early drafts of a font called Univers, and you have goosebumps on your arm.
Last night's talk by Mr. Young, a legend and master of typography and logo design was full of such moments as he showed samples of his utterly perfect hand drawn wordmarks and shared the wisdom of a sixty-year career in graphic design to a packed house at the HR MacMillan Space Centre.
From his book, The Art of the Letter:
Doyald Young encouraged us tonight to not forget this craft. The computer is a wonderful tool but it did not replace the pad and pen. Both have their rightful place.
"If you improve your drawing skills," he tells us, "you will become a better designer. Period." Sound advice from a true master.
You know that you are a true design geek when you are listening to Doyald Young recount the moment in 1950's Paris when Adrian Frutiger showed him the early drafts of a font called Univers, and you have goosebumps on your arm.
Last night's talk by Mr. Young, a legend and master of typography and logo design was full of such moments as he showed samples of his utterly perfect hand drawn wordmarks and shared the wisdom of a sixty-year career in graphic design to a packed house at the HR MacMillan Space Centre.
From his book, The Art of the Letter:
I have felt an enormous challenge to justly draw letters with a two-millenia history — the frivolous and the avant garde simply can't compete. The challenge, as always, is to redraw them with fresh insight, while respecting their tradition.and
Of all the stems that make up a sans serif alphabet, none is more critical or troublesome than the diagonals.This is truly beautiful stuff, almost Zen in its philosophy. I love the topic of typography for the same reason that I love books like Salt or Zero; books that uncover the entire history of humankind by concentrating on one tiny but crucial element. Typography bears this same relationship to design. It is so focussed and minute and yet it is the building block of all communication and ultimately serves as a microcosm for every rule and point of etiquette that exists in the greater design process. More than anything it is a true craft, that which separates a dedicated designer from the hack with a copy of Adobe Suite.
Doyald Young encouraged us tonight to not forget this craft. The computer is a wonderful tool but it did not replace the pad and pen. Both have their rightful place.
"If you improve your drawing skills," he tells us, "you will become a better designer. Period." Sound advice from a true master.
Labels: Design, Typography
Monday, February 20, 2006
Alphabet 26
A posting on Coudal's Fresh Signals caught my eye and imagination this afternoon. It was regarding Alphabet 26, a simplified English alphabet system designed by American type designer Bradbury Thompson in 1950. The underlying concept is a sound one: "it is misleading for a letter, or for any graphic symbol, to have two different designs." Of the 26 letters in the English alphabet, 19 use different symbols for uppercase and lowercase while the other 6 use similar ones. Bradley eliminated what he deemed the extraneous symbols and created the system displayed in the image above.
My immediate thought was that this would make a beautiful title font for some yet to be determined future project. But after a fairly extensive search, I could only find one available font called Bodoni Twenty Six that bears a similarity to Bradley's design. If anyone out there knows of others, please post the links in Comments.
A posting on Coudal's Fresh Signals caught my eye and imagination this afternoon. It was regarding Alphabet 26, a simplified English alphabet system designed by American type designer Bradbury Thompson in 1950. The underlying concept is a sound one: "it is misleading for a letter, or for any graphic symbol, to have two different designs." Of the 26 letters in the English alphabet, 19 use different symbols for uppercase and lowercase while the other 6 use similar ones. Bradley eliminated what he deemed the extraneous symbols and created the system displayed in the image above.
My immediate thought was that this would make a beautiful title font for some yet to be determined future project. But after a fairly extensive search, I could only find one available font called Bodoni Twenty Six that bears a similarity to Bradley's design. If anyone out there knows of others, please post the links in Comments.
Labels: Design, Typography
Monday, January 30, 2006
Mike Goedecke: The Industrial Brand Interview
Mike Goedecke, Founder and Executive Creative Director of the California motion graphics company belief was recently in Vancouver for the Canadian premiere of his short film "Embryo" at a SIGGRAPH event. The next day, Mark and I met up with him and his lovely wife Lisa at Cassis for a brilliant lunch and an interview on his process and passion.
Mike Goedecke, Founder and Executive Creative Director of the California motion graphics company belief was recently in Vancouver for the Canadian premiere of his short film "Embryo" at a SIGGRAPH event. The next day, Mark and I met up with him and his lovely wife Lisa at Cassis for a brilliant lunch and an interview on his process and passion.
Labels: Design, Shameless Self Promotion
Thursday, January 05, 2006
The History of a
Shameless Imposter
In my attempt to dissuade a client from her preference toward the font Arial, I came across a wonderful account of this homely typeface's origin and proliferation titled The Scourge of Arial over on Mark Simonson's site.
In short, Arial is like an invasive species, the English Ivy to the font world's Stanley Park. We need to rip it out by the roots.
Shameless Imposter
In my attempt to dissuade a client from her preference toward the font Arial, I came across a wonderful account of this homely typeface's origin and proliferation titled The Scourge of Arial over on Mark Simonson's site.
In short, Arial is like an invasive species, the English Ivy to the font world's Stanley Park. We need to rip it out by the roots.
Labels: Design, Typography
Monday, November 21, 2005
Cyborg Forest
Organic meets robotic in this sweet CG from 1st Avenue Machine.
Reminds me quite a bit of Neill Blomkamp's work.
Organic meets robotic in this sweet CG from 1st Avenue Machine.
Reminds me quite a bit of Neill Blomkamp's work.
Monday, November 07, 2005
Adventures in the Industrial Brand Blogosphere
The Industrial Brand Blog has been getting quite a lot of attention as of late. In less than a year, the number of visitors has risen steadily to about 30,000 per month. We suddenly find ourselves using terms like "blogroll" and "trackback" a lot. We've made contact with other bloggers and web pioneers from around the world. We've sat on blog panels. And just this past month, we have been recognized by Applied Arts for Best Blog and on Wednesday with a Lotus Award of Merit for Best Interactive Miscellaneous. It has been quite the exciting ride so far. Can't wait to see what lies around the next cyber corner.
The Industrial Brand Blog has been getting quite a lot of attention as of late. In less than a year, the number of visitors has risen steadily to about 30,000 per month. We suddenly find ourselves using terms like "blogroll" and "trackback" a lot. We've made contact with other bloggers and web pioneers from around the world. We've sat on blog panels. And just this past month, we have been recognized by Applied Arts for Best Blog and on Wednesday with a Lotus Award of Merit for Best Interactive Miscellaneous. It has been quite the exciting ride so far. Can't wait to see what lies around the next cyber corner.
Labels: Collaborators, Design, Industrial Brand Creative, Shameless Self Promotion
Thursday, August 04, 2005
Banksy
The self-proclaimed "art terrorist", known only by his tag name, Banksy has been getting his fair share of press as of late. Not only does Wired Magazine offer a profile on him in their upcoming issue, but the latest Adbusters features his Renaissance style portrait of a maiden in a gas mask on its cover.
An urban artist since the age of 12, Banksy has gained recent notoriety for his prankful snub at the mainstream art community. In March, upon donning a trench coat and fake beard, Banksy visited the Brooklyn Museum, New York's Metropolitan Museum of Art, the Museum of Natural History and the MOMA and in each added a piece of his own artwork to their walls. Each piece was cleverly suited to its environment; a pinned beetle with radar and rocket launchers for the Museum of Natural History; a bargain-brand soup can silk screen for the MOMA.
This was followed two months later with the British Museum's discovery of an unauthorized addition to their Roman Britain gallery: a rock painting of a caveman pushing a 'supermarket trolley'. The piece (now known as 'The Peckham Rock') has since become a part of the British Museum's permanent collection.
Watch for more works of staggering genius from this artist in the future.
The self-proclaimed "art terrorist", known only by his tag name, Banksy has been getting his fair share of press as of late. Not only does Wired Magazine offer a profile on him in their upcoming issue, but the latest Adbusters features his Renaissance style portrait of a maiden in a gas mask on its cover.
An urban artist since the age of 12, Banksy has gained recent notoriety for his prankful snub at the mainstream art community. In March, upon donning a trench coat and fake beard, Banksy visited the Brooklyn Museum, New York's Metropolitan Museum of Art, the Museum of Natural History and the MOMA and in each added a piece of his own artwork to their walls. Each piece was cleverly suited to its environment; a pinned beetle with radar and rocket launchers for the Museum of Natural History; a bargain-brand soup can silk screen for the MOMA.
This was followed two months later with the British Museum's discovery of an unauthorized addition to their Roman Britain gallery: a rock painting of a caveman pushing a 'supermarket trolley'. The piece (now known as 'The Peckham Rock') has since become a part of the British Museum's permanent collection.
Watch for more works of staggering genius from this artist in the future.
Labels: Art, Design, Street Level
Friday, July 15, 2005
Complexification
Beautiful, stark, organic and complex algorithmic artwork at complexification.net. Via blprnt.blg.
Beautiful, stark, organic and complex algorithmic artwork at complexification.net. Via blprnt.blg.
Labels: Art, Design, Edge of Chaos
Tuesday, April 19, 2005
Portfolio Update — svenboecker.com
Industrial Brand Creative just launched our friend and photographer Sven Boecker's website. It is ultra clean and simple with a slick Flash engine underneath. Not to mention of course: beautiful photography.
Industrial Brand Creative just launched our friend and photographer Sven Boecker's website. It is ultra clean and simple with a slick Flash engine underneath. Not to mention of course: beautiful photography.
Labels: Collaborators, Design, Photography, Shameless Self Promotion
Wednesday, March 09, 2005
Canstruction Vancouver - Juror's Choice Award
This past weekend, Industrial Brand Creative along with Legends Memorabilia teamed up once again to participate in Canstruction Vancouver, a charity event in which teams build large sculptures out of non-perishable goods that are judged, exhibited and then later disassembled and donated to the Food Bank. Our sculpture this year, Snoopy on his doghouse took top prize of Juror’s Choice and all signs point to it going on to win the People’s Choice award as well.
We just launched the site for it this afternoon. Check out the time lapse video of the build. For anyone in Vancouver, the exhibit is running until the 12th of March at Canada Place so be sure to drop if you have a chance.
This past weekend, Industrial Brand Creative along with Legends Memorabilia teamed up once again to participate in Canstruction Vancouver, a charity event in which teams build large sculptures out of non-perishable goods that are judged, exhibited and then later disassembled and donated to the Food Bank. Our sculpture this year, Snoopy on his doghouse took top prize of Juror’s Choice and all signs point to it going on to win the People’s Choice award as well.We just launched the site for it this afternoon. Check out the time lapse video of the build. For anyone in Vancouver, the exhibit is running until the 12th of March at Canada Place so be sure to drop if you have a chance.
Labels: Collaborators, Design, Industrial Brand Creative, Shameless Self Promotion
Saturday, January 22, 2005
top 10 most important websites (to me) of 2004
Is it too late for yet another 'best of 2004' list?
I was on iFilms list of 2004 Best Viral Videos just this afternoon, so I guess we can ride it a little longer. Considering that we are barely two and a half weeks into the new year and this being my first blog entry on this site, it seems appropriate to start things off with something that pays respect to all that has come to pass. So I am going to do a top 10 list of websites that had an impact on me personally in 2004. They will include brilliant design, concept, content and in more cases than not, a slick combination of all three.
Indeed, looking back on 2004, it would seem as though design went through a minor rennaissance; one that I hope will continue in the years ahead. As blogger.com proudly announced ABC News named Bloggers their 'People of the Year'. Blogging does indeed seem to be where its at. Websites are no longer static entities. They breathe. They encourage dialogue. And the web is a friendlier place for it.
In terms of design trends, 2004 marked the return of glam with my personal adage that all one needs is a gradiant, a starburst, script-text-used-as-decoration and a few birds in the sky to create cool design holding true wherever one looked. Add a harajuku reference or graffiti influence and you were golden. But in all seriousness, it really seemed like people were having fun with design this past year which is both encouraging and inspiring.
So on with it. Over the next ten days, I will be posting the list of my Top 10 Most Important Websites of 2004 in descending order. As already stated, these are sites that had a personal effect on me, so you the user may walk away shaking your head muttering that I have no business throwing URL's around so casually. But stick around and see what churns up.
I was on iFilms list of 2004 Best Viral Videos just this afternoon, so I guess we can ride it a little longer. Considering that we are barely two and a half weeks into the new year and this being my first blog entry on this site, it seems appropriate to start things off with something that pays respect to all that has come to pass. So I am going to do a top 10 list of websites that had an impact on me personally in 2004. They will include brilliant design, concept, content and in more cases than not, a slick combination of all three.
Indeed, looking back on 2004, it would seem as though design went through a minor rennaissance; one that I hope will continue in the years ahead. As blogger.com proudly announced ABC News named Bloggers their 'People of the Year'. Blogging does indeed seem to be where its at. Websites are no longer static entities. They breathe. They encourage dialogue. And the web is a friendlier place for it.
In terms of design trends, 2004 marked the return of glam with my personal adage that all one needs is a gradiant, a starburst, script-text-used-as-decoration and a few birds in the sky to create cool design holding true wherever one looked. Add a harajuku reference or graffiti influence and you were golden. But in all seriousness, it really seemed like people were having fun with design this past year which is both encouraging and inspiring.
So on with it. Over the next ten days, I will be posting the list of my Top 10 Most Important Websites of 2004 in descending order. As already stated, these are sites that had a personal effect on me, so you the user may walk away shaking your head muttering that I have no business throwing URL's around so casually. But stick around and see what churns up.
Labels: Design
#10 - industrial brand creative
www.industrialbrand.com
The first offering in the "Top Ten Most Important Websites (to me) of 2004" is a sentimental one. The Dec. 23 entry on the homepage says it best: "After 13 months, 6 designers, 25,000 different concepts and a "Battle Royale" our site has been given a major facelift". It is always hardest to design for yourself and this new look for IBC did not come easy. But we think we got it right. Complete with a blog, online store and a recipe section, the new design presents a more realized and mature look than what we had before which seems appropriate considering how much the agency has grown in the past three and a half years. Kudos to all involved.
www.industrialbrand.com
The first offering in the "Top Ten Most Important Websites (to me) of 2004" is a sentimental one. The Dec. 23 entry on the homepage says it best: "After 13 months, 6 designers, 25,000 different concepts and a "Battle Royale" our site has been given a major facelift". It is always hardest to design for yourself and this new look for IBC did not come easy. But we think we got it right. Complete with a blog, online store and a recipe section, the new design presents a more realized and mature look than what we had before which seems appropriate considering how much the agency has grown in the past three and a half years. Kudos to all involved.
Labels: Collaborators, Design, Industrial Brand Creative, Shameless Self Promotion
Thursday, January 20, 2005
#9 – billy harvey music
www.billyharveymusic.com
Okay, I will be the first to admit that including billyharveymusic.com in a list of "Top Ten Most Important Websites (to me) of 2004" might seem a tad irresponsible. Important might be the wrong word in this case. But we are only at #9 and it is Friday afterall. Plus, it cracks me up everytime I visit and underneath its stoner disarray is a highly conceived and smoothly coded website. His music isn't half bad either.
www.billyharveymusic.com
Okay, I will be the first to admit that including billyharveymusic.com in a list of "Top Ten Most Important Websites (to me) of 2004" might seem a tad irresponsible. Important might be the wrong word in this case. But we are only at #9 and it is Friday afterall. Plus, it cracks me up everytime I visit and underneath its stoner disarray is a highly conceived and smoothly coded website. His music isn't half bad either.
Labels: Design
Wednesday, January 19, 2005
#8 – moma's tall buildings
www.moma.org/exhibitions/2004/tallbuildings
Architecture was a full time distraction for me in 2004. Frank Gehry's influence was always working itself into my designs and I was floored by the plans that were revealed for Beijing's 2008 Olympic Stadium(check out design B11). But when it comes down to a website that kept me coming back, it was the Museum of Modern Art's Tall Buildings site that did it, earning them the #8 spot in my "Top Ten Most Important Websites (to me) of 2004". This site is clean, informative, and chock full of some of the coolest buildings from around the globe.
www.moma.org/exhibitions/2004/tallbuildings
Architecture was a full time distraction for me in 2004. Frank Gehry's influence was always working itself into my designs and I was floored by the plans that were revealed for Beijing's 2008 Olympic Stadium(check out design B11). But when it comes down to a website that kept me coming back, it was the Museum of Modern Art's Tall Buildings site that did it, earning them the #8 spot in my "Top Ten Most Important Websites (to me) of 2004". This site is clean, informative, and chock full of some of the coolest buildings from around the globe.
Labels: Architecture, Design
Tuesday, January 18, 2005
#7 – the embassy's south african robocop
South African Robocop QT movie
The #7 listing on the "Top Ten Most Important Websites (to me) of 2004" is not a site at all but rather a viral movie. Vancouver's The Embassy arrived on the scene in 2003 and immediately set about making some of the freshest visual pieces that advertising and the web have seen for some time. Their dancing Citroen Transformer ad created quite a buzz on the viral circuit, but what really caught my eye was the above piece directed by Neill Blomkamp.
Consisting of raw, almost touristy footage of the slums outside of Johannesburg, combined with 3D renderings of a robot policing its streets, this is like nothing I have ever seen. The CG is seamless and the unfamiliar setting immediately pulls viewers out of their comfort zones and forces them to question whether what they are seeing is in fact real. As scary a vision of future policing this might be, it is not that far off of present military strategy.
South African Robocop QT movie
The #7 listing on the "Top Ten Most Important Websites (to me) of 2004" is not a site at all but rather a viral movie. Vancouver's The Embassy arrived on the scene in 2003 and immediately set about making some of the freshest visual pieces that advertising and the web have seen for some time. Their dancing Citroen Transformer ad created quite a buzz on the viral circuit, but what really caught my eye was the above piece directed by Neill Blomkamp.
Consisting of raw, almost touristy footage of the slums outside of Johannesburg, combined with 3D renderings of a robot policing its streets, this is like nothing I have ever seen. The CG is seamless and the unfamiliar setting immediately pulls viewers out of their comfort zones and forces them to question whether what they are seeing is in fact real. As scary a vision of future policing this might be, it is not that far off of present military strategy.
Monday, January 17, 2005
#6 - massive change
www.massivechange.com
"It is not about the world of design. It is about the design of the world."
-Bruce Mau
This fall, the Massive Change exhibit debuted at the Vancouver Art Gallery. In trying to answer the question "Now that we have the ability to do anything, what will we do?", a team of designers under the guidance of Bruce Mau set about not just to warn us about the critical condition of the world today, but to demonstrate how we have the resources and technology to save ourselves. It is not so much a utopian vision of the future as it is simply an optimistic and very practical one. Basically, these things have to start to happen if we want to survive.
But it does require a massive change in the way that the general population interacts with the world around them. Social Responsibility may be the buzzword of the 21st century but until there is some substance behind this concept, we will not move forward.
www.massivechange.com
"It is not about the world of design. It is about the design of the world."
-Bruce Mau
This fall, the Massive Change exhibit debuted at the Vancouver Art Gallery. In trying to answer the question "Now that we have the ability to do anything, what will we do?", a team of designers under the guidance of Bruce Mau set about not just to warn us about the critical condition of the world today, but to demonstrate how we have the resources and technology to save ourselves. It is not so much a utopian vision of the future as it is simply an optimistic and very practical one. Basically, these things have to start to happen if we want to survive.
But it does require a massive change in the way that the general population interacts with the world around them. Social Responsibility may be the buzzword of the 21st century but until there is some substance behind this concept, we will not move forward.
Labels: Design, Design Can Change the World
