This has been doing the rounds on Twitter but’s it’s too good/creepy not to share here again! Omote is a real-time face tracking and projection mapping experiment by Nobumichi Asai. Full credits here.
After inheriting the logo four years ago the Glasgow-based design studio went on to shape every aspect of the Games brand identity. Early projects included Pictograms, an official typeface, a set of sub-brand logos and the interior graphics for the Organising Committee headquarters. They didn’t stop there, the total of 500 projects also included the Official Ticketing and Spectator Guide. As well as art-directing the TV graphics, and developing the creative strategy for the ‘Look of Games’ – the venue dressing, city dressing and sports equipment at Games-time.
With just under a week to go, momentum is building for the first outing of Glug Birmingham on Thursday 21st August. Titled MIDLAND MASTERS, an event curated by Created in Birmingham and Inkygoodness, in association with (the newly rebranded) Glug, is hosted at Fazeley Studios. Riso print programmes for the night have been printed by Hato Press, the poster inside designed by headline speaker Alex Fowkes, with the programme itself designed by Kerry Leslie. We’re looking forward to being there, it promises to be a great night!
PROVIDE (Matt Nation) Starting from the bottom (and we’ll probably be here a while) Hero of Switzerland & FRUKT (Dan Button) Doing a Hobby for a Living Waste Studio (Norm Hayes) Apple P Cuppa Tea Studio Output (Alun Edwards & Chris Allwood) New Challenges Well Made Studio (Gemma Germains) No Friends in Business Alex Fowkes Process is Just as Important as Product
Nine stalls in our pop-up market: Codswallop Collective (Art prints), Brothers of the Stripe (Prints & originals), Working Clasp (Jewellery), Mike Stimpson (Photography), Hero of Switzerland (Art prints), LizzLizz (Comics), PROVIDE (Clothing & Accessories), Bethany Thompson (Art prints), Sam Pierpoint (Handpainted shoes).
Live drawing from Brothers of the Stripe, taking place in the Fazeley Studios courtyard (where you’ll find the BBQ too). Live t-shirt silk-screen printing from Waste Studio. AMMO Magazine special edition launch party. FREE screen print, designed by Alex Fowkes, printed by Whiteduck Screenprint (for the first 100 guests to sign in!) as well as tasty treats from Paisley Immy.
All of this will be taking place at Fazeley Studios, 6pm-11pm. To finish, there’s an after-party at Spot*Light, 10pm-1am.
Tickets are available on eventbrite, priced £7.50 (+ free drink)
A further two events are planned for 20th November (Illustration – speakers include Studio Binky and Florence Blanchard) and 12th March (Digital / Innovation – speakers include Gavin Strange and Jonny Costello).
This week I came across a website that offered one of the most immersive interactive experiences I have witnessed online this far. The Omnisense website markets an imaginary product called O+ and will guide you through the calibration process and initial test of the product. It makes use of your smartphone as a second screen and controller to guide you through a slightly gruesome scenario in the not to distant future.
I thought it might be a hoax site for a big budget movie but it turned out to be a final year student project. Intrigued I spoke to Florian Morel about Omnisense to find out more…
Hi Florian, would you mind telling us a little more about the Omnisense project?
Sure, Omnisense emerged from a general theme; The perception of our world and the enhancement of our senses.
We use our senses to gather informations from our world, but little by little we contribute to the birth of a new world. A digital world, containing information about everything: locations (like google maps), what you like (pinterest), who your friends are (facebook), where you work (linkedin), what you know (wikipedia), what you don’t know (wikileaks). It is becoming more and more a duplicate of our world. This digital environment grows more and more each day but we’re not equipped to interact with it.
However we use some devices such as smartphones which become kind of a body extension, allowing us to access this digital world.
What if you could access these data without the need for such a device ? What if we could get a new sense suited for this digital world? With this background in mind, how would all this personal data affect our life and our judgement?
In the end, it’s all about current problems (personal data on the web) and how to talk about a serious topic in a engaging and immersive way.
Some references that inspired us were: Google Glass, Trask and Weyland Industries, Black Mirror, The Wolf Among Us, transhumanism & body hacking (“L’Humanité augmentée” – Augmented humanity, by Eric Sadin, and “L’être et l’écran” – The being and the screen, by Stéphane Vial).
I’ve seen some pretty great design work come out of Portugal recently. Another Collective for example are producing some clean and considered branding for local businesses and are worth keeping an eye on.
Berg in collaboration with Future Cities Catapult, have developed a very interesting prototype for a low-energy connected display called Pixel Track. In comparison with electronic displays made from LEDs or backlit LCDs, Pixel Track should require less power, components and software to display information.
Information design collective Kurzgesagt make short videos, explaining things. For example Evolution, the Universe, Time, the Stock Market or the creation of Planet Earth.
Since 1987 Adobe’s Illustrator program has been an essential tool for almost every graphic designers. It was the first software application for a young company that had, until then, focused solely on Adobe PostScript. Illustrator not only altered Adobe’s course, it changed drawing and graphic design forever.
Always nice to revisit the consistently great Helsinki’s brand design agency Werklig.
Motion designer Peter Quinn loves showreels. He watches a couple every morning while sipping his first coffee. No wonder he started noticing some reoccurring themes, so he decided to mash them all together into one almighty anti-showreel!
Until June this year, designer Frank Chimero worked under his own name. A lot of us designers do this and just as many will find a suitable moniker to work under. It is a question that I struggled with over the past year. In the end decided to ditch my company name in favour of my own.
When I read that Frank was starting a studio called Another I thought it would be a great opportunity to get his thoughts on the topic.
Hi Frank, first of all can you tell us a little more about Another Studio?
Another is my one-man design studio focused on taking the knowledge and conventions of digital and bringing them back to print (and vice versa). Projects come in one of two forms: I handle everything and work closely with the client like a traditional studio, or I plug into the client’s internal design and dev team to help shepherd along a project. It’s a lifestyle business—meaning it’s primary reason for existence is to act as a little Frank-powered machine to contribute good things to culture and help me have the life I want to live.
So you’ll continue with your personal work under your own name?
Yes! Working under a studio name leaves my personal name free for my books, writing, and other artistic pursuits.
Do you feel that a company name will open other doors than working as Frank Chimero?
Of course, otherwise there’d be no reason to do it. I suppose the day-to-day looks a lot like my work days from the past few years, but I decided to formalize the endeavor to leave some room for collaborations and to not have to stick to the aesthetic people have come to expect from me. Read more
Over the last few weeks London’s ustwo have published a detailed analysis of the future of in-car human–machine interfaces or HMI. It makes for an incredibly interesting read even if you have very little to do with the automotive industry. A lot of their findings can be applied to user interface design in many other fields.
For those of you with little time, read this TL;DR summary packing the 5 long articles into 5 easily digestible points…
1. Lose the ‘stick a touchscreen on it’ approach
2. Love the user/driver
3. Less is more in a UX sense
4. Little things count in a UI/visual sense
5. Listen up and get a feel for emerging technologies with the most potential
The good guys at ustwo have made this entire article available as a PDF designed to be read as an e-book on iPad – which you can download for free.
I caught up with Craig Oldham to discuss his recent work for D&AD‘s New Blood Awards, which draws together the organisation’s previous Student Awards, Graduate Academy, and New Blood Exhibition, aiming to create a simpler structure that encourages more young people to enter the scheme. You can see some his picks from the 700+ portfolios represented here.
A series of infographics were created, on which Craig worked with copywriter and collaborating creative director John Goddard. Speaking to Creative Review, Craig explained – “Once we’d got the main content plotted out, we realised just how massive the whole thing was, which was when we started to get excited about it – I think at the back of our minds we wanted to create the world’s biggest flow-chart. The whole point of a flow diagram is that you can use it to illustrate anything. You can diverge, and branch off. There are no limits to what you can do with it, which is as much of a curse as it is blessing,”
You’re a vocal advocate of D&AD and design education in general, whats your history and current relationship with D&AD?
I’ve been involved with D&AD in many capacities throughout the years. I exhibited in the New Blood exhibition when I graduated, I went to an agency where Ben Casey was involved in D&AD and where getting in-book was a major deal in the awards season, and from those early beginnings I’ve done pretty much everything they’ve ever asked of me—but not because of anything more than a shared belief. I was always aware of the awards—as everyone is—but they invest all that back into education and that’s what I believe in, and what has kept my relationship with them for all these years. Education is what matters to me. It can be the most rewarding and powerful thing you can share. And D&AD and I share that value system.
I was at the wrap of the New Blood Academy last week (where graduates in the New Blood Programme get a 2 week ‘bootcamp’ effectively), and speaking to the graduates involved and how much better and optimistic they feel on trying to get a first foothold in the industry than before is really powerful stuff.
When I think of the OOCO I don’t traditionally associate you with installation / exhibition design. How did you find working to such a scale? Is this the sort of work you’d like to be doing more of?
To be honest, I’ve had previous experiences working in all that scale on a lot of projects past and present. It’s different but certainly not daunting. I like it as you get to operate physically from the beginning and it adds an extra dimension to the way you have to think. I get a kick out of production, the physicality and the assembly of things, the fabrication, materials, scales and methods etc. are heightened in installation and exhibitions. Don’t get me wrong, they’re as important (if nor more) in the more 2-D medias like books and the likes, but more things can go west so you have to think a bit differently.
I always love designing spaces and things to go within spaces. It’s not a different way of thinking, just a different way of doing.
Working with a copywriter sounds like the traditional Art&Copy model, but you’re also quite the wordsmith (swear-smith?) and John (Goddard) is also a creative director – how collaborative was the process of writing and designing together?
It’s quite a flip-flop to be honest. John, besides being technically a copywriter, is a really visual person and often arms his ideas with a strong visual or aesthetic sensibility. He’s not there to simply write things or make sense of my sweary, garbled notes, but be a good art director too. And likewise I’m not just here for the pictures. I’ve never been a sketcher and always written ideas or talked them to a conclusion so generally we work extremely well together and alternate between the two. John’s words and I’m pictures, and I’m words and he’s pictures. And that relationships helps us get to a really good point. Plus we get on very well and laugh—a hell of a lot—which is important (and tends to be our yardstick for the quality of a project).
What’s next for OOCO? Anything in the pipeline you can share…
I’m working on the next book which I’ve curated and produced. It’s a different one to the Hand.Written.Letter.Project or The Democratic Lecture, but will be produced to the same standards and cover a theme I’ve always been interested in. This tome is a celebration of the intelligence, wit, humour and innate creativity of the working class. It’s a political book of graphic works from the seemingly ordinary person who can create the most extraordinarily powerful things. Alongside works from from an acclaimed film director, a Turner Prize winning artist, a YBA artist, will be stuff from my Dad and many many “amateur” creatives… bet you can’t wait for the press release on that one!
Produced by Yoke Creative, Secrets of a Signwriter – Is a moving portrait about one of the last original signwriters in Wales. Meet Alan Cavley, an inspiring individual with a genuine and truthful outlook on life.
The London design studio Spin , renowned for their clear & elegant design solutions, have updated their website. Packed with consistent product shots of old and new work and apparently some previously unseen Unit Editions Books. The responsive website makes use of some lovely subtle features like scrolling through images on mouse-over and a visible breadcrumb trail that opens up a sidebar menu.