Two For the Road

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* Kate Murphy in the NYT provides an analysis of the typographic choices of politicians vying for positions in the 2010 election cycle. Her conclusion: Candidates—of both parties—have made a conscious move away from Obama's '08 Gotham and other "modish fonts, choosing instead fonts that look like they were banged out on a vintage typewriter or carved into an ancient temple."
Read the full story here: http://www.nytimes.com/2010/10/31/fashion/31Noticed.html

* In his weekly column "Consumed," Rob Walker considers whether the adage "there's no such thing as bad publicity" applies to the Gap logo redesign fiasco. His conclusion? Maybe... http://www.nytimes.com/2010/10/31/magazine/31fob-consumed-t.html

NYC's urbancanvas Competition

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Yesterday NYC Mayor Bloomberg revealed the winners of the city's urbancanvas Design Competition which challenged participants to create artwork to decorate those usually boring protective structures that surround construction sites—an initiative that reminds me of the clever construction screen I saw in Bilbao. After submissions were winnowed down by a jury, public vote determined the final 4 winning designs, which building owners who have been approved for the urbancanvas Pilot Program will be able to use to liven up their construction areas. I've included images of my favorites, "Color Mesh" by Mauricio Lopez and "My Urban Sky" by Jen Magathan, but you can see all the designs and learn more here.

Radioactive Anticipation for Lauren Redniss's Latest Book

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I have trouble reading long handwritten texts and consequently have never gotten into graphic novels and comic books, so the fact that I read Lauren Redniss's 2007 book Century Girl in a single sitting attests to her abilities both as an artist and a storyteller. Century Girl traces, as the subtitle describes it, "100 years in the life of Doris Eaton Travis, the last living star of the Ziegfeld Follies," through a collage of drawings, clippings and images of Eaton's own ephemera, surrounded by Redniss's handwritten prose. The book left an impression; while 3 years later I can't recount every detail of Eaton's life, I will never forget the wonderfully engrossing visual and visceral experience I had reading it. 

So it was with great excitement that I read an article in Vogue about Redniss's latest book Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout, in which she takes on the evolution of nuclear physics through the focal point of the Curies' romance. To meld the medium and content, Redniss used a camera-less photographic technique called a cyanotype to create most of the art (which consequently, as the name of the process suggests, is mostly blue-based) because, she says, "photographic imaging was critical to both the discovery of X-rays and of radioactivity." And as an added bonus, the cover glows in the dark. Unlike Century Girl, her new book is not handwritten, but instead uses a font that is, Redniss writes, "based on the title pages of 18th and 19th Century manuscripts in the New York Public Library's collections [and] named Eusapia LR for the croquet-playing, sexually ravenous Italian Spiritualist medium whose séances the Curies attended. Yup." 

I tried to whittle down the images for this post (all courtesy of Redniss's website), but with her work it was hard to pick just a few. In any case, you can find more images from both books at laurenredniss.com as well as her Pulitzer Prize-nominated illustrations for the New York Times Op-Ed page. 

Radioactive will be published in December, and can be pre-ordered now. (Family members please note, you can handily find it on my Amazon wish list.)

 

Buried Alive! Vintage Posters Discovered in London Underground

During renovations to the Notting Hill Gate tube station, Mikey Ashworth of the London Underground found a treasure trove of old posters on the walls of an elevator passageway, which had been sealed off during construction in the 1950s. Check out these vintage advertisements for toothpaste, movies and exhibitions—pretty spectacular discovery! And should any modern era posters be sealed off in this current round of construction, we bequeath our own graphic masterpiece to future generations... the ubiquitous Momma Mia ad.  

(All photos credit of London Underground)

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Psst: The Dolphin Studio Calendar

A couple of years ago an art director friend gave me a gorgeous holiday gift: A calendar from The Dolphin Studio of Stockbridge, MA. I have since started giving them as gifts myself, and now receive an annual reminder when the next batch is hot off the press. The calendars are screen printed with original art by the ffrench (not a typo) family and began as a husband-wife project, which, over the decades, has grown to include children, sons-in-laws and grandchildren (you can read more about the clan here.) The pages are richly hued, pack a punch on the wall and are impossible to get rid of at the end of the year (I saved mine to use as wrapping paper). In short: a beautiful, handmade product with an endearing back story—my favorite type of gift.

(calendar page photos courtesy of refinery29)

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Kindle Plugin for InDesign

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Amazon recently released a beta version of a plugin for InDesign that allows user to convert INDD files to Kindle format. The company already provided ways to digitize and self-publish texts via Kindle—all free—and now this makes it easier to publish more image-based publications, say that illustrated design book you've been toiling away on in private. According to Amazon's press release, the plugin allows users to maintain font styling and add links within the book, among other features. Uploaded books can be purchased by iPad, iPhone, PC, Mac, Blackberry and Android owners who have the AmazonKindle app, since Amazon doesn't care how customers read e-books, as long as the books are bought from its store. And 70% of each sale goes to you, which you can put towards R+D for your follow-up e-tome.

More information and downloads here.

Pie (Lab)

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(photo credit: Alessandra Sanguinetti for the New York Times)

In grad school we were taught to broaden our definition of "designed things" beyond traditional media to include the less tangible—a single moment, an experience, behavior. Certainly physical objects could be evocative and memorable, but using our skill set as designers to orchestrate a moment of interaction—and ideally documenting it for later discussion—was routinely encouraged.

I thought of this while reading an article in yesterday's New York Times Magazine about the design collective Project M's initiative called PieLab in Greensboro, Alabama. While PieLab has garnered a lot of press, this story is an interesting case study of the full picture—not just the aspirational roots and initial execution of the designed experience, but also its ramifications within a given community, and, ultimately, how such a concept needs to be able to evolve (both in its goals and in its management) in order to last. It is a testament to the strength of this designed experience that PieLab (now simply called "Pie") continues to exist, now anchored a bit closer to the ground but with its heart fully intact. 

Barcelona's La Mercé Festival: Opening Night Projection

During a recent visit to Barcelona I stumbled upon an experience I had admired from afar on my blog almost a year ago: 3D building projections. The evening before the start of the city's annual Mercé Festival we passed through the Placa de Sant Jaume just as technical adjustments were being made to a projection on the facade of the City Council building that anchors the south side of the square. We came back the following night and watched the show in all its glory, which was as entertaining and technically impressive as I had hoped. I haven't been able to confirm that it was the work of the Dutch company NuFormer Digital Media, but it seems highly likely.

Video 1: Sped-up footage of some of the set-up process which consisted of many minute alignment adjustments.
Video 2: What I consider to be the greatest hits of the show.
Video 3 & 4: An almost complete record of the entire show in two parts, which clock in at about 11 minutes, and is recommended for readers with a lot of time on their hands.

Postcards from Spain & London

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Clever construction screen in Bilbao printed with the architectural plans for what's being built behind it. 

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Video booth graphic at the Guggenheim Bilbao.

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Unintentionally illicit photos of Serra's working prototypes. 

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Final pieces, in situ. 

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Rough translation: "In Barcelona it's all possible, but it's not all worth it." (Civic signage warning of fines for spitting, peeing or defecating in public.)

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Near London's Borough Market, the most minimally branded Starbucks I've ever seen.

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Cleverly deadpan Meniscus Glass.