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Listening to Mark Simonson and Carl Crossgrove describe the lost display cut of Helvetica.
Design is a fight against ugly. -- Massimo Vignelli describing his modernist design philosophy in the Helvetica film. Great juxtaposition of characters versus David Carson, purveyor of ugly.
... And no idea if I packed the right layers for Seattle weather.
These Typophile buttons have been designed, used, discarded, found and now repurposed.
Everyday information -- once carefully designed by some anonymous person -- passes through our hands. Without a thought it does its job and ends up in the trash, or left to carelessly flutter to the ground to be found and repurposed.
Each button is of course unique. These are not scanned and printed. They are found, curated and lovingly composed in a circular frame.
Read more after the bump...
The shirts are on press at Ape Do Good.
so far the iPhone lives up to its hype, including posting to community sites from mobile Safari.
After a day I, m typing as fast as I could on the blackjack with about the same error rate. The qwerty is actually as large as the blackjack, but the lack of tactile feedbackdoes have an impact.
More later i'm sure.
SXSW has posted the audio from a panel discussion titled Web Typography Sucks. Apropos.
I saw the SF premier of Helvetica last night and I had to run out during the Q&A to catch the last Bart train, but the question I wanted to ask Gary was, at what point in the making of [[Helvetica]] (the film) did he realize this was not a film about a typeface, but about a commentary about the design and cultural landscape we live in (and that we are products of)? His film is really, really much more than I expected it to be. I thought it was going to be much more academic and historic. It was so much more than that. Helvetica is so much more than a typeface, it's a cultural landmark and Gary Hustwit's film put it into great context.
Kudos to Kate Moss for having her own font... Every super model should have her/his own typeface, just as every one-person "celebrity brand" should. But, it shouldn't be released to the public when the design feels like a draft version.
I can imagine the brand brief describing the need for a typeface that matches Moss' anemic and unnatural look, in which case, maybe this design fits the brief. There are just too many problems to mention, and this post would become a mean-spirited critique. See it for yourself -- it just doesn't hold up even under the most basic scrutiny.
Brand New School and Publicis recently rocked the automobile ad landscape with some serious typo-mojo with their "The Car that Reads the Road" campaign for Toyota. The ads were shot in New Zealand (what isn't shot there these days?) and ran in Australia.
View all the stills:
Pingmag has a new feature article on Iranian typography. As expected, most of it is purely calligraphic. However, it's interesting to see a visual culture known for its avoidance of imagery using typography as a representational or illustrative tool.
Check out Iranian Typography Now
My daughter (age 9) drew some logos and made me play name that logo. =)
People are becoming really good at ignoring advertising, so advertisers are forced to become more creative about placement and context. As a designer with who loves creative advertising I applaud this stuff. But I'm torn. Of course it's more intrusive than a billboard you can ignore. But does the cleverness make it more acceptible? Is it actually less intrusive because they don't have to be huge billboards (that obstruct natural views or cityscapes).
Take a look at about a dozen creative ad placements from around the world. What do you think?
Will Wallop really beat out Myspace? Not any time soon, but it's pretty cool nonetheless.
They've done a great job using Flash in ways that are usable, intuitive, etc. Ping me if you want an invite.
Album art was moving toward a slow, painful death. Thanks iTunes for revitalizing it. I can't remember the last time I walked into a music store and bought a CD. I almost bought the last Snow Patrol album off a shelf but I decided I'd save a few bucks and get it digitally instead. I'd forgotten how much I like album art until this new iTunes version.
Punchcut is presenting a case study on Qualcomm Sans at 4:15PM EST.
When you send a text message to [number deleted] your message will show up on the screen, set in Qualcomm Sans.
We call it the Punchcut Heckle Engine™... enjoy.
(Ahem, I think I have to say that standard text messaging rates apply.)
Just exited the "Demystifying Font Management" panel discussion, grabbed a bite at Finagle a Bagel (lame name, blah sandwich), and I have to sit down and post my off-the-cuff comments.
1- When staging a panel discussion, prepare the panel members ahead of time for the pointed, astute comments from David Berlow (Font Bureau).
2- When asking a question to the panel, make sure Bruno isn't in within arm's reach of the microphone. (Herr Steinert, I'm only teasing.) =)
The panel was fine and the technical questions were answered well, and some of the main issues of font management addressed. What bothered me was the almost nonchalant approach to the subject that the 3 font management reps and the Apple rep brought. Instead of hearing the pain points of a broad base of users and taking that back to their product teams as market research, they just said, "font management has to be sucky" and "it's the user's responsibility to know their libraries, know what's compatible and troubleshoot our own glitches.
Extracurricular highlight so far: Discovering Vietnamese/French sandwiches in the Vietnamese corner of Chinatown. Thanks James for the jaunt, it was well worth it.
This one from the Ebeling Group in an evidence bag made me smile.