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White-cheeked Gibbon
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White-cheeked Gibbon
jimhughes51 posted a photo:
!["White-cheeked]("http://farm6.staticflickr.com/5808/29762588102_20bfcf0436_m.jpg")
White-cheeked Gibbon
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jimhughes51 posted a photo:
White-cheeked Gibbon
jimhughes51 posted a photo:
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Jaguar Chameleon
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Master designers like Alan Fletcher, Bob Gill, Milton Glaser and George Lois all put language at the heart of their work. Fletcher's book The Art of Looking Sideways is about verbal and visual interplay. George Lois, in his book Lois Logos said, “As a graphic thinker, I claim my love of language as a birthright”. And he went on to describe himself as “the most word-driven art director of our media age”.
I've been intrigued by the relationship between language and design since I was a student. It all began with a book, first published in 1962, called Watching Words Move by designers Ivan Chermayeff and Tom Geismar. Their aim was to “…explore the evocative potential of words and vividly express their meaning”. In their introduction they said, “…we looked at the words and did to them what they themselves suggested”. Watching Words Move shows how you can make words more evocative of ideas and emotions.
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I love Watching Words Move because it's what graphic design's all about crystal-clear, expressive and idiosyncratic communication that makes everything our clients say, look like only they could have said it.
You'd have thought it goes without saying that language and design are indivisible so why are they so often out of step, even at odds? Why do words play second fiddle to design? Why do a lot of designers seem hell-bent on churning out work that's slick but meaningless when they should to be helping their clients communicate?
There's a big problem with design education. Design schools fail to cultivate a love of language. Their focus always was, and still is, on the visual. They're teaching decoration not communication. Bob Gill said, “I realised that the best test of the validity of an idea was if the client could comprehend it, be excited by it and accept it without even seeing it.” So he'd tell them about it rather than show them. And he made his students tell him about their work before they showed him. He made words the starting point for design.
A lot of the writing we have to work with is shamefully inadequate because everyone thinks they can write and all too often, everyone and anyone does. People who lack the well-honed skills of professional writers dash off colossal amounts of business writing that's short on clarity and has no discernible personality. So designers are forced to spend their time camouflaging forgettable words when they should be bringing language to life. No wonder many are inclined to dismiss words as filler the boring stuff that spoils all the fun.
Well-structured, perceptive design briefs are priceless because defining problems in words is where design begins. Cut and paste marathons, stuff and nonsense cobbled together by people who ought to know better, are worthless. But all too often, designers seem happy to accept waffle and, in the absence of any clear direction, churn out bucket loads of “concepts” in the hope that something gets picked. Bad writing is bad thinking written down, and bad thinking will never inspire good design.
Bob Gill, in his book Forget All the Rules About Graphic Design, says: “Taking problems which don't make interesting (unique) statements and redefining them so that they do is what my graphic design is about. It's how I get my ideas. From the problems themselves”.
A few years ago I was asked to design a logo and graphic identity for The National Archives, one of the largest and oldest archival collections in the world. It holds government and state papers from the eleventh century to the present day. It's responsible for their preservation and on-going selection. And it makes the collection available to everyone. They described themselves as the “national memory” and the “protector of democracy” through open access to information. There was more to it, but that's it in a nutshell.
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I redefined their statement to make it more interesting; The National Archives is the place where history meets the future. That was my starting point and it inspired a logo that's made from the coming together of two very different letterforms one ancient, one modern.
Collaboration between writers and designers is nothing like as commonplace as it should be. By and large, writers write, designers design, and that's that. I know quite a few very good writers who just aren't interested in how their words look, and even more designers who couldn't care less what the words are about. It shouldn't be that way. Writers and designers ought to collaborate, like advertising agency art directors and copywriters have done for decades. Because language and design are indivisible like words and music in a song.
And Babies is an iconic anti-Vietnam War poster. It was designed in 1969 by the Art Workers Coalition. It uses an infamous photograph of the My Lai massacre in which hundreds of unarmed civilians were killed, and women and girls raped. It shows about a dozen dead and partly naked Vietnamese women and babies on a dirt road. The picture's overlaid with translucent red lettering that asks along the top, “And babies?” and at the bottom it answers, “And babies”.
The photograph was taken by Army photographer Ron L Haberle and the quote is from a CBS television interview with a soldier who participated in the massacre. The poster speaks volumes. It's a remarkable example of language and design coming together to tell an unforgettable story.
You don't need to make interesting words look interesting. If you do, what they look like will probably compete with what they mean and that'll make them harder, not easier, to understand. But so often the meaning of words is clouded by designers who can't resist the temptation to tart them up.
It's been 23 years since The Economist launched their eye-catching “white out of red” campaign. But Abbott Mead Vickers' words have lost none of their freshness.
On the edge of a conversation. One of the loneliest places on earth.
To err is human. To er, um, ah is unacceptable.
Don't end up like Wotsisname.
The simple red posters echoed the design of the Economist's masthead. The words were so good, they needed very little design. You've heard the saying “a picture's worth a thousand words”. Well it's not always true. Sometimes a few well-written words are worth much more than any picture.
Here are six suggestions to help you bring language and design together, and create work that's crystal-clear, expressive and idiosyncratic.
Collaborate with writers. Writers, collaborate with designers.
Redefine the brief. Make it more interesting.
Have an opinion. It's how you get ideas.
Have a reason. Don't do something just because it looks good.
Write your ideas down. See if they still make sense.
Trust your instinct. It's always right.
The post John Spencer: “Language and design should be indivisible” appeared first on Design Week.
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Trade show Design Junction is a wholly different affair this year, uprooting to King's Cross where there is a new focus on several distinct types of design.
Although broadly speaking Design Junction is a trade show under the London Design Festival banner, it is looking to offer a lot more.
Having moved on from locations in central London at the Sorting Office and the former Central St Martins building, Design Junction has now fanned out across a 67 acre site in King's Cross.
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The registration area at The Crossing is also an installation by Michael Sodeau Studio for Dinesen. A mix of brands sit around it and all of them have made an effort to create some kind of installation for their products.
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The TfL collaborations are probably the pick of the bunch. There are three separate licensed collaborations, each of which is demonstrated in a timber frame structure. Kirby Design has used a Piccadilly line moquette on a chair it has designed exclusively for Made.com.
Meanwhile Loris&Olivia has made pan mats and coasters from rubber train flooring and Vallila have created a series of bold prints, which have been fashioned into tea towels, cushions and the like.
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On the way to Cubitt House you can find the Johnston Twitter Machine, designed by Florian Dussport. It's a giant roundel created in homage to the Johnston Typeface, which was designed by Edward Johnston 100 years ago in 1916.
Dussport has designed the machine so that it stamps out tweets that have #inspiredby in them.
Cubitt House is where you can find the bulk of the trade stands. It's a temporary and not particularly arresting structure. Recognising this Design Junction looked to Satellite Architects, which has disguised the whole thing behind a façade comprised of a grid of squares and a row of trees, which gives a pixilation effect.
Inside there are two floors showing more than 100 furniture and lighting companies. It's a very light structure so you get to see the furniture upstairs in natural light.
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Look out for a beautifully elegant collaboration between Bethan Gray and Shamsian, which does that rare thing of reconciling modern and classic styles while also mixing eastern and western influences. It was the Iranian practitioner Mohamad Reza Shamsian who approached UK designer Bethan Gray for the project.
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Casper was a particularly big hit. Versions of the Casper stool had been customised by the likes of Tom Dixon, Anthony Burrill and Vic Lee and will be the subject of a charity auction.
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We bumped into Vic Lee working on a mural outside the entrance to the The Canopy, a retail destination showcasing 70 boutique design labels selling fashion accessories, technology, stationary, ceramics and graphics.
There was some lovely stuff from Dorothy, which creates data visualisations, prints and graphics often in the form of maps.
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They showed us their latest projects, some of which were being seen for the first time at Design Junction. This view of post punk bands mapped out as a transistor is particularly satisfying.
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In Granary Square you'll find a series of red houses resembling Monopoly hotels. Each one is the location for a different installation. Design studio Four23 used their house as an immersive VR experience, designed to eschew the stresses of the modern world with a transcendental and genuinely blissful escape.
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It's based on the neuroscience of Daydreaming, there's lots of rigorous explanatory research on the wall panels inside and the Four23 people are very helpful too. Really you just need to have a go though.
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If you get down to Designjunction on Saturday you might want to catch talk on design and dyslexia. It poses the question: Is having dyslexia always a learning difficulty, or can it facilitate lateral and creative thinking? Design and architecture writer Grant Gibson chairs the discussion, which sits alongside Designjunction's current exhibition, Dyslexic Design, showcasing the work of dyslexic designers. Panelists include illustrator Kristjana S Williams, industrial designer Terence Woodgate, furniture designer Tom Raffield and writer Margaret Rooke.
Design Junction runs from 22-25 September at 1 Granary Square, London, N1C 4 AA
The post First look Design Junction 2016 appeared first on Design Week.
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Mozilla is currently undergoing a rebrand but rather than simply enlisting a design consultancy to fulfil a brief, the software company has called on the public to comment on ideas.
Working with consultancy Johnson Banks, Mozilla is posting different iterations of the new logo on its blog, where Mozilla employees and the general public can post their comments.
Now, four visual identities have been shortlisted one which uses the “://” symbols, a pixelated flame, a depiction of an internet network and a dinosaur's head.
All of the logos have their explanations behind them, but so far, our readers have been leaning towards “Protocol 2.0” the logo which cleverly encapsulates the “://” into the word “Mozilla”.
Reader Hannah Stephens says: “It's bold, meaningful and memorable the others for me are too complex and don't have the same impact.”
A final brand identity is expected to be revealed in October.
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This week, UEFA revealed the branding for its 2020 European Football Championship (Euro), which is going to be doing things differently in 2020.
Held every four years, the tournament usually takes place in one European city, but in 2020 it will be held in 13 cities across Europe, with the semi-finals and finals taking place at London's Wembley Stadium.
To symbolise the joining up of Europe which is also fitting to our current post-Brexit climate the branding features a bridge, representing “the universal symbol of connection”, says UEFA.
The branding was completed by Y&R Portugal.
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This week, an inquiry was launched on the parliament.uk site which encourages people working within the creative sectors to submit their thoughts on Brexit.
The inquiry has been proposed by the Culture, Media and Sport Committee, and asks people to submit their personal details along with an open letter on how leaving the European Union (EU) will affect the creative industries.
They want views on issues including employment, the fall in value of the pound, copyright, design and trademark laws, loss of EU funds such as the Creative Europe Fund and reduced access to the EU's single market, which allows free movement of goods, people and services across Europe.
Beware that on the whole your views won't be anonymous letters are published to the website, and if you want your thoughts to remain confidential, you'll have to provide your reasons.
The deadline for written submissions is 28 October. You can access the form here.
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Virtual reality is now readily available to consumers and designers as Oculus Rift hit shelves in retail stores this week.
The headset, which comes with a sensor, remote and an Xbox One wireless controller, is priced at £549. Oculus VR has also chucked in a VR platform game Lucky's Tale, along with a series of 360 degree videos and VR movies.
It's now available to buy at John Lewis, Curry's PCWorld, Game Digital and London department store Harrods, and can also be purchased online via Amazon.
You'll need a PC to run it, and make sure it's up-to-date it needs to have an operating system of Windows 7 or newer, and a memory of 8GB RAM or above.
Oculus Touch controllers are yet to launch in the UK, but when they do they aim to provide greater control and more natural use of the hands when using VR.
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Design consultancy PriestmanGoode has created two new seats intended to alleviate passengers' stress when riding crammed trains.
While the concepts don't tackle the problem of over-populated carriages in itself, they aim to make better use of space to accommodate more passengers in both sitting and standing positions.
The Horizon concept has a staggered seat design, which creates more shoulder space between passengers, and foot rests at different heights to accommodate people of different sizes.
The Island Bay concept can be converted during rush hour by folding the seat up, and also includes a window table that converts into a seat, and extra padded backrests facing into the aisle of the train.
PriestmanGoode is currently working with Rail Interiors Solutions to find suppliers. Read more about the concepts here.
Got a design story? Get in touch at sarah.dawood@centaurmedia.com.
The post 5 important things that happened in design this week appeared first on Design Week.
!["29181754814_a8ecd2c1b8_k"]("http://chimpfeedr.com/img/?url=https%3A%2F%2Fs3-eu-central-1.amazonaws.com%2Fcentaur-wp%2Fdesignweek%2Fprod%2Fcontent%2Fuploads%2F2016%2F09%2F22145953%2F29181754814_a8ecd2c1b8_k-750x500.jpg&width=540&mix=22833-design")
The Design Council has announced the winners of its annual Spark Awards, which look to bring “life-enhancing” product designs to market.
This year sees four winning teams, who will each receive up to £50,000 to make their concepts a reality.
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The first winning concept is Rockit, a portable baby rocker which can be attached to a pram, car seat or crib, and which simulates a gentle rocking motion and vibration to soothe babies to sleep. It was created by Nick Webb, Matt Sparrow and Matt Dyson.
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Tickleflex is a device to aid diabetics when they inject themselves with insulin it clips on to a needle and pinches the tissue under the skin, while helping to control needle depth and reduce pain caused by injecting. It was designed by Peter Bailey, who has Type 1 diabetes himself.
!["29180218804_5dea6fdafd_k"]("http://chimpfeedr.com/img/?url=https%3A%2F%2Fs3-eu-central-1.amazonaws.com%2Fcentaur-wp%2Fdesignweek%2Fprod%2Fcontent%2Fuploads%2F2016%2F09%2F22145950%2F29180218804_5dea6fdafd_k-750x500.jpg&width=540&mix=22833-design")
Rhinamite is a non-invasive medical device to stop nosebleeds, which works by applying cool pressure to the nose. It can be used by both patients and healthcare professionals. Wendy Minks, an oral and maxillofacial surgery trainee, designed the concept.
!["29181811183_b0bb01af80_k"]("http://chimpfeedr.com/img/?url=https%3A%2F%2Fs3-eu-central-1.amazonaws.com%2Fcentaur-wp%2Fdesignweek%2Fprod%2Fcontent%2Fuploads%2F2016%2F09%2F22145955%2F29181811183_b0bb01af80_k-750x500.jpg&width=540&mix=22833-design")
Handy-Fasteners are a replacement for buttons, intended for those who have arthritis in their hands. The magnetic clothes fasteners aim to make dressing and undressing easier. This product was created with support from the Spark Awards 2016 sponsor Arthritis Research UK, and designed by Matthew Barrett, Natalie English and Thomas Fantham.
Up to £50,000 will be awarded to each winner, and this will go towards the next stage of product development.
The Design Council Spark programme received more than 350 applications this year, which was whittled down to 13 concepts. The programme was first launched in 2014.
The post Design Council Spark Awards reveals winning concepts appeared first on Design Week.
Andrea Wulf's victory in the Royal Society prize this week continues a trend that has seen female authors triumphing after many years on the margins
There wasn't much fuss about Andrea Wulf's gender when she won the Royal Society Insight Investment science book prize for her biography of Alexander von Humboldt. But her victory means that, just like the Wellcome book prize won by Marion Coutts in 2015 and Suzanne O'Sullivan in 2016 the Royal Society award has gone to a woman for the last two years.
Related: Andrea Wulf on a scientific adventurer 'chased by 10,000 pigs'
Related: Popular history writing remains a male preserve, publishing study finds
Continue reading...![]("https://drscdn.500px.org/photo/174117861/m%3D900/e403ffae38aab979751e04f704ab341a")
ludalmg90 posted a photo:
!["London]("http://farm9.staticflickr.com/8561/29875010355_b1642f039c_m.jpg")
