kottke.org posts about design
For creator Stefan Buchberger, a design student at the University of Applied Arts in Vienna, the idea grew out of a semester-long theme about keeping personal space clean and tidy. “I decided to create Flatshare fridge because there is nothing more disgusting than a dirty fridge in a shared flat,” he says. “At the time, I was living in such a flat!”
The fridge consists of a base station and up to four stackable modules. The modules allow each individual user to have his or her own refrigerator space and can be customized with various colorful skins as well as with add-ons like a bottle opener or a whiteboard.
The Flatshare refrigerator has the perhaps unfortunate side effect of reinforcing which household members hold lower positions on the metaphorical totem pole and therefore always need to bend down to access their unit while higher-status members can easily get at their fruit and veg without genuflection. (via cribcandy)
Dorothy Gambrell applies every Photoshop filter to an image in order and posted the results, including all the tweens. (via waxy)
I don’t know if I’m interested in watching the show or not, but we might have a new leader in the best TV show main title sequence: True Blood. By the same folks who did the Six Feet Under titles. Perhaps NSFW. (via quips)
Update: Maybe Digital Kitchen was influenced by a documentary called Searching for the Wrong Eyed Jesus in making the True Blood titles?
I love the linear version of the Word Clock. Completely impractical but lovely.
William Drenttel opines on the all-white-male jury of an Adbusters design competition:
Nearly a decade into a new century, I believe it is unacceptable for a design organization, foundation, board of directors, magazine or other enterprise, to mount an initiative with an all male panel of judges — or, put another way, “white, native English-speaking men from the U.S., British Isles or Australia.” Such behavior is no longer acceptable and should not be tolerated by a community of designers (or any other community). Designers around the world should just say no.
COLOURlovers, the site that takes inspiration from colors in the real world to make design palettes, today has a collection of palettes inspired by some wickedly vibrant bruises.
Experiments with Guilloche patterns, those fine geometric patterns you find on European banknotes.
Banknote patterns fascinate me. I can get lost for hours in all the details, seeing how the patterns fit together, how the lettering works, the tiny security ‘flaws’ — they’re amazing. Central to banknote designs are Guilloche patterns, which can be created mechanically with a geometric lathe, or more likely these days, mathematically. The mathematical process attracted me immediately as I don’t have a geometric lathe and nor do I have anywhere to put one. I do, however, have a computer, and at the point I first started playing with the designs (mid-2004) Illustrator and Photoshop had gained the ability to be scripted.
The Hidden Radio has no obvious controls…unless you count that the radio *is* the controls…it “has either no user interface…or…is all user interface”.
The volume is controlled by lifting the lid of the radio (which also reveals the speaker). Tuning is done by twisting the lid. Absurdly clever. (via monoscope)
An analysis of the three major types of gravestone motifs used in eastern Massachusetts during the seventeenth and eighteenth centuries.
The earliest of the three is a winged death’s head, with blank eyes and a grinning visage. Earlier versions are quite ornate, but as time passes, they become less elaborate. Sometime during the eighteenth century — the time varies according to location — the grim death’s head designs are replaced, more or less quickly, by winged cherubs. This design also goes through a gradual simplification of form with time. By the late 1700’s or early 1800’s, again depending on where you are observing, the cherubs are replaced by stones decorated with a willow tree overhanging a pedestaled urn.
Pay special attention to the graph of the popularity of each motif and the slideshow of example gravestones. (thx, peterme)
Update: A reader writes in:
In regards to your post on Gravestone Motif Analysis, I think that the most important text on the subject is still Graven Images: New England Stonecarving and its Symbols, 1650-1815 by Allen Ludwig. It was originally published in 1966, before the article that you linked to. However, Wesleyan University Press published a new edition in 2000 to help meet the rising demands of Material Culture Studies courses. Lots of helpful images and histograms showing the changing patterns of gravestones over that time period.
I *love* that the collective readership of this site knows what the definitive text on New England gravestone carving is. (big thx, fletcher)
Thirty-five minute video in which Saul Bass talks about some of the iconic movie title sequences he created in his career. (via smashing telly)
Mad Men gets a C- for using Arial in the closing credits instead of original-and-still-champion Helvetica. Time for Sterling to have a chat with the art department.
Interesting interview about “noticing” and how good designers, writers, etc. are adept at “super-noticing”.
Print magazine has collected a number of images from movie posters, book covers, etc. that feature a person carrying another person.
Today, variations on this idea have begun to appear. It is very common to see the “hero” (male) in the arms of another “hero,” “beauty” in the arms of another “beauty,” and ultimately, a male being carried by a female who is no longer depicted as defenseless and childlike but strong. In a sense, it’s a return to the theme’s origin: The Madonna holding and protecting her child.
A British company called Faber & Faber is doing print on demand books with a wrinkle: each book has its own distinct cover that’s generated at print time.
Generating the borders was just one, if major, task of the final solution, though. The custom software written in Processing, straight Java and PHP works as an internal webservice at Faber which receives new batch orders and then generates complete, print ready PDF files with all copy, branding, spine, ISBN, barcode and optional high-res JPG preview using the book details supplied. Generating a single cover only takes about 1 second, but due to its iterative and semi-random nature can sometime require hundreds of attempts until a “valid” design is created which is judged to be “on brand” by software itself.
What a day it will be when software can determine whether all of us are “on brand” or not. (thx, david)
Slate has a nice short history of information visualizations, including work from Josh On, Jonathan Harris, and Martin Wattenberg. Many many more examples can be found on kottke.org’s infoviz page.
Christoph Niemann has used some unusual image sources to tile his bathrooms. For the shower, an appropriation of Warhol’s Brillo box. For the kids bathroom, a NYC subway map.
Daytum is a site for keeping track of your life, a “home for collecting and communicating your daily data”. For a glimpse of how Daytum might work, check out Daytum founder Nicholas Felton’s personal annual reports. Somewhat related: Trixie Tracker, the online baby tracking software. The first person I remember tracking their data in this way online was Erik Benson on his Morale-O-Meter.
Update: And Moodstats from K10K…I forgot about (the dearly departed) Moodstats! (thx, nick)
This is a fantastic set of photos of old business signs, many of them neon. As Ben says, “is it possible to favorite every photo in a set at once?”
Influenced by Modern design trends in Europe, Vanity Fair in 1929 got rid of all capital letters in their headlines. A few months later, the capital letters were reinstated and the design change was accompanied by a letter from the editor called “A Note on Typography”, reprinted in full on Design Observer.
The eye and the mind can adapt themselves to new forms with surprising ease. An innovation stands out at first like a sore thumb but before it has passed its infancy it has become invisible to the conscious eye. The unconscious eye, however, is another matter. It is vaguely dulled by the stale and hackneyed, it is antagonized by the tasteless and inept, and it is completely stopped by the involved and illegible. The unconscious eye is a remorseless critic of all art forms, it awards the final fame and final oblivion.
A large collection of old airline menus. The collection is poorly organized but worth poking through (check out Air France and Pan Am). Tracked this down after reading this short piece in the Times about a private menu collection, complete with a tiny image of some menus that’s barely worth the effort of clicking the link.
Objectified is an upcoming film about industrial design by Gary Hustwit, director of Helvetica.
Objectified is a documentary about industrial design; it’s about the manufactured objects we surround ourselves with, and the people who make them. On an average day, each of us uses hundreds of objects. (Don’t believe it? Start counting: alarm clock, light switch, faucet, shampoo bottle, toothbrush, razor…) Who makes all these things, and why do they look and feel the way they do? All of these objects are “designed,” but how can good design make them, and our lives, better?
The film is due out in early 2009. (via design observer)
What would happen if there were no stop signs and a large corporation attempted to design one?
“We’re targeting women, but we’re also targeting men, secondarily.”
The logo for A.G. Low Construction is the best one I’ve seen in awhile.
Nice work by design student Rebecca Low, who I’m assuming is related to the A.G. Low in question. (via monoscope)
Steven Heller asked a bunch of designers and illustrators to re-imagine the lapel pin for Barack Obama.
Since Mr. Obama promotes himself as the candidate of change, maybe he should start wearing a different kind of lapel pin that signals his patriotism as well as other values he wants to communicate.
One fellow suggests ripping his lapels off and thereby skirting the whole pin issue. (via design observer)
On the heels of Michael Bierut’s rave for Mad Men comes William Drenttel’s admission: I Was A Mad Man.
Then the CEO [of Krystal Restaurants] turns to me, ignoring everyone else, and asks me to take out my wallet. He asks me how much money I have. I count about $150, and tell him so. He smiles, looks me squarely in the eye, and asks: “Would you spend your last $150 on this shit?”
The rest of the story involves me telling him to take out his own wallet and me swearing I’d spend not only my money but all of his. And we did. We spent all of Krystal’s money, millions of dollars. We made second-rate advertising, and they had second-rate stores with really second-rate hamburgers. We deserved each other.
Time lapse video of a designer laying out an article for a magazine. I could watch stuff like this all day. It’s also the type of video I wish were on Vimeo…sometimes YouTube is like watching a UHF station from 200 miles away with the rabbit ears positioned just so. (via quips)
I love this clever New York magazine cover design from 1969…a photo of a too tall mayoral candidate is cropped just below the chin.
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