Articles tagged ‘design’

Alvin Lustig Book Covers (via FaceOut Books)

Thanks to @brandi_duncan for turning me on to FaceOut Books and their inspiring blog, which features among others these wonderful book covers designed by Alvin Lustig. Reminiscent of Alexander Steinweiss’ covers for Columbia records, Lustig exploited the silhouette as design element and hand-drawn scripts to wonderfully tasteful heights. If you’ve read any of the books whose covers he designed for authors as varied as Franz Kafka to Henry James you will probably find that they were equally illustrative from a context standpoint. One can see resemblances to fellow modernist Paul Rand in the geometric and free-form shapes he used as well as his love for color. Check them out and be inspired.

EricBelowSeaLevel: The Design of Erik Kiesewetter

Peruse the portfolio of this New Orleans-based designer and try not to feel lazy! In addition to his commercial work, which is quite excellent, Mr. Kiesewetter has been busy working and collaborating on projects ranging from post/medium, an online artist/gallery portfolio management system for New Orleans artists, a screen-printed poster series for the historic 2nd-lining Nine Times Social & Pleasure Club and the Neighborhood Story Project, a book-making project based in New Orleans whose mission states “‘Our stories told by us,’ we work with writers in neighborhoods around New Orleans to create books about their communities.” Honestly, it’s difficult to tell which of Mr. Kiesewetter’s work is commercial or pro-bono as the level of quality and creativity remains consistently high. I recently purchased the first two issues of Constance, an art and literary magazine produced in New Orleans, which Mr. Kiesewetter collaborates on and is how I stumbled upon his work. You should take a look, yourself.

Don’t Freak – Better Signs of Trouble (via NY Times)

A funny, if not scary, op-ed in the New York Times revisits the Homeland Security terrorism-alert system, though I’m not certain it was meant to be funny… Neville Brody and Paula Scher, among others, chime in with their graphic suggestions.

Typeface, a film by Justine Nagan

I’m looking forward to seeing Typeface, a film by Justine Nagan, which recently premiered at TypeCon2009 in Atlanta. The film’s tag line say that it’s “charting the intersection of rural America and contemporary graphic design.” Well, that’s right up our alley here at NoRelevance.com! The preview images and synopsis look and sound great and all of its early press seems to indicate that it’s a wonderful film. Hopefully more interesting than that other film about type that came out not too long ago. Speaking of the synopsis: “Typeface focuses on a rural Midwestern museum and print shop where international artists meet retired craftsmen and together navigate the convergence of modern design and traditional technique.” You had me at “typeface.”

A New Look For Jack [in the box]

File this under “I don’t know who you are anymore.” From Duffy & Partners, the folks that brought you the Gattica-esque, futuristic redesign of, um, Fresca, comes the likewise 3D modernity of yet another “huh?” brand. Jack-in-the-Box franchises have existed under the now-retro-looking brand for some time now and, well, doesn’t everything need to be redesigned every so often in order for it to remain relevant? Take the departed Paul Rand-designed UPS logo that was ultimately replaced by the 3D shield design or the latest Pepsi logo that looks more like an outtake from a previous redesign than a finished piece, IMHO. Personally, I feel nostalgic for older brands and that probably makes me less objective as a designer or re-designer. The new Jack look seems to be hesitant to decide which century it wants to be a part of. On the one hand, the script type feels like a bit of a throw-back, but then the “in the box,” which has now been reduced to tag-line status, could easily say “x-box.” I think Duffy has done some good work, but this is not among its best. Just look at their Knob Creek suite of labels and try to compare the quality, relevance and messaging of those to this one.

War Posters

From the Boston Public Library, check out these wonderful–if not strangely relevant–propaganda posters from WW2 Allied powers.

War Posters (flickr set)
http://www.flickr.com/photos/…[deletia]

I’ve got a victory garden going, don’t you?

2008 NYC Subway “Map” by Massimo Vignelli

New Yorkers do pride themselves in having excellent senses of direction. Just get lost anywhere in the city and droves of passers-by will offer you the quickest route to your destination. How will they know you’re lost? You’ll have no doubt unfolded an MTA Subway Map turning it this way and that. And, if you were savvy enough to pick up the May 2008 issue of Men’s Vogue at an NYC newsstand and were lucky enough to get the right copy, then you might be flipping around a 2008 Subway Diagram (re)designed by Massimo Vignelli himself. Vignell designed his first version for the MTA in 1972 and it stood, barring numerous updates and service changes, until 1979 when the MTA unveiled Michael Hertz’s currently and more geographically correct design. Vignelli’s design was often criticized for not being a very good “map,” per se, but he gallantly defended it. “Who cares? You want to go from Point A to Point B, period.” he told the NY Times in a past interview. You’ll notice his 2008 version is called “2008 Subway Diagram,” not “Map.”

Metroscript Open Type Font

Surely by now you’ve come across Metroscript–a relatively new OpenType script typeface that’s being hailed as “one of the most complex digital script systems on the market” and rightfully so. Designed by Michael Doret of the Alphabet Soup type foundry, Metroscript takes full advantage of the OpenType format, which makes possible and incredible number ligature combinations and, thus, lends a more hand-made look to headlines and copy. My particular interests in it are from the standpoint of the computer-generated, cut-vinyl signage industry and its new tool for getting that hand-made look. Will it displace some old-fashioned hand-painters? It’s possible. Metroscript essentially presents the designer with a Rubik’s Cube of ligature options–most of which look good enough to print. So, I imagine many designers might end up wanting to use their comps as the finished product. Just press Ctrl-P.

Design and the Elastic Mind

If you’re in the NYC area and you haven’t made it to MoMA in a while, now would be the time to do so. Design and the Elastic Mind is a new exhibit which examines how designers of all kinds are exploring advances in science and technology—not to mention the changes in how we both view and relate to the world around us—in order to rethink who we are and how we spend our limited time here on spaceship Earth. This exhibit, which takes a few hours to really soak in, makes it clear that we are on the verge of, if not deeply immersed in, a fundamental leap in our thinking, doing and being. There are sublime examples of how data sources such as internet traffic and prison incarceration-vs.-spending can be visualized in new ways and for new means. The innovative concept of “thinkering” is often evoked in the demonstration of how everyday objects can have uses and lives beyond their original purpose. In many of the projects on display the roles of scientist, inventor and designer are virtually interchangeable though they are mainly presented in the context of design. Even if you do make it to the exhibit I highly recommend spending an afternoon clicking around the wonderful website that MoMA created which reflects the character of the exhibit in its approach to user experience and information design. As a visual designer I was inspired by Design and the Elastic Mind to look beyond the current hype of green and sustainable design and reexamine not only what I do but how and why. I’ll keep you posted on what I discover.

Reinventing the Wheel

Once again, digging through my library I find a book I meant to write about a while ago but got passed over: Reinventing the Wheel, by designer, critic and Paul Rand biographer Jessica Helfand, is a wonderful reference of pre-HTML, interactive information design. Whether they were meant to assist in determining the crop yields of hybrid corn or to help identify the branch and rank of a person in military attire, the information wheels (or volvelles as they’re formally known) featured in Helfand’s book so often demonstrate the perfect balance of form and function that so many of us strive to achieve in even our simplest of design projects. Circular designs in general (see: 45 RPM record labels) present unique design and typographic challenges. But Reinventing the Wheel’s examples weren’t merely round canvases that needed to be adorned with type and color, they were born out of the necessity to solve sometimes complex data-mining tasks with a simple twist of a disc. If you’ve ever taken apart an info wheel and seen the absolute anarchy hidden beneath the upper, slotted disc, you probably already appreciate the technical skill and grace required to simply make it work. This invaluable book is as much a collection of what’s been done as what is possible.