Paula Scher: The Geography of Design

Milton Glaser

555 KUBIK | facade projection |

555 KUBIK | facade projection | from urbanscreen on Vimeo.

MUTO a wall-painted animation by BLU

http://www.blublu.org/sito/video/muto.htm



Blu has created a jaw-dropping animation where street art comes alive (and then dies) that was made in Buenos Aires and southwest Germany.

Joshua Allen Harris' Inflatable Sculpture

Article Courtesy of Woostercollective
(http://www.woostercollective.com)

:: Joshua Allen Harris has created some fantastic New York street art in the form animals made out of shopping bags positioned on subway street grates that cause them to periodically inflate and animate.

: Air Bear New York


: Street Zoo

Kinematic typography

Article Courtesy of Always watching
(http://www.alwayswatching.org)

"Type is saying things to us all the time. Typefaces express a mood, an atmosphere, they give words a certain coloring."

"Graphic design is the communication framework through which these messages about what the world is now and what we should aspire to - it's the way they reach us. The designer has an enormous responsibility. Those are the people putting their wires into our heads."

But what happens when you combine typography with motion? That's the process of kinematic typography and the results, when paired with some excellent scenes from your favorite films and TV shows, can be moving and marvelous.

: For a great video demonstrating kinematic typography AND explaining what typography is.


: Pulp Fiction

In this re-creation of the famous assassination scene in Pulp Fiction, creator Jarratt Moody deftly blends together different fonts to great effect, and employs one of the best uses of font close-ups you'll ever see.

: Psycho

This is perhaps one of the simpler of these videos, but still quite effective. Specifically, the words in this video interact with each other in a jumbled mess that seems to indicate Bates' own state of mind.

: The Big Lebowski

Scenes from the Coen Brothers' hilarious film, and this video by Michael De Graaf, though simplistic compared to the others, offers a good look at several interesting elements of kinematic typography: wacky color usage, simultaneous dialogue and ellipses.

» Read More : http://www.alwayswatching.org/features/great-scenes-television-and-film-told-using-only-typography

A Tribute to Paul Rand

: Here’s a nice little short film about Paul Rand (1914-1996), the brilliant graphic designer most famous for designing logos for IBM, UPS, and other major corporations:

Trampoline Typography

: zZz is playing: Grip
// A music video featuring “trampoline gymnasts simulating typical video effects.” Filmed in one take.

อักษรศิลป์ "ทรงพระเจริญ"

: โครงการอักขรศิลป์ ทรงพระเจริญ โดยออกแบบอักขรศิลป์ ทรงพระเจริญ รูปแบบใหม่ขึ้น เพื่อร่วมเฉลิมพระเกียรติ แด่พระบาทสมเด็จพระเจ้าอยู่หัวภูมิพลอดุลยเดช เนื่องในวโรกาสที่ทรงเจริญพระชนมพรรษา 80 พรรษา
: www.songpracharoen.org




Skan Ayurapong (F.A.B 11)


Boonyanut Suwanakul (F.A.B 11)


Titipong Charoontamwong (F.A.B 09)

Coke Returns to Real Thing

Coke Returns to Real Thing
From : Creative Review Magazine - August 2007



No more bubbles, no more drop shadows, no more extraneous detail ; Coca Cola has just unveiled a redesign of its famous can that heralds a major change direction.
Eschewing the kind of added "interest" that has become standard in the packaging of mass consumer goods. the new design simply features the famous Coca-Cola logo, a slightly redrawn version of the white stripe and the word "Classic" rendered in the gotham typeface.
Ironically, although the design marks something of a return to the simplicity of previous decades, Its adoption was highly influenced by modern print techniques that can produce very strong solid colours on the cans at high quality.
The Coke design also stands in marked contrast to rival Pepsi which has been pursuing of a policy releasing a multitude of different can designs each year. At present, the new can is only in the north america market. But It may become Coca-Cola's worldwide standard.

The Last Supper of Christ – Lego-style

The Last Supper of Christ – Lego-style
From : http://www.metro.co.uk
Tuesday, July 24, 2007



Right, gather round. I am not just a lego man, I am also the messiah.
....................................................................................................................................

The signature in the corner of this unusual artwork ought to be Legonardo da Vinci.

The take on the classic painting in Lego building bricks is by an Italian artist whose alias is Udronotto.

Jonathan Barnbrook » Friendly Fire

Jonathan Barnbrook
Graphic designer (1966- )
Friendly Fire
At the Design Museum, London : 19 June to 10 October 2007




^ Jonathan Barnbrook has emerged in the past two decades as one of the UK’s most consistently innovative graphic designers. Pioneering the notion of graphic design with a social conscience, he makes strong statements about corporate culture, consumerism, war and international politics, and through his work in both commercial and non-commercial spheres combines wit, political savvy and bitter irony in equal measures.
^ Friendly Fire will trace Barnbrook’s career from early experiments in pure typography, pioneering motion graphics in the early 1990s, to more recent print work including the Damien Hirst monograph, I Want To Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, album design for David Bowie, and projects with collaborators such as the anti-corporate collective Adbusters. Drawn from the designer’s own archive, the work represented will span a wide range of graphic design disciplines.
^ Founding his studio in 1990 and Virus Foundry in 1997, Barnbrook is perhaps best known for his provocatively named fonts, such as Mason, Exocet, Bastard, Prozac, Nixon and Drone. The controversy surrounding this work stems from its subversive nature and strong social commentary. Barnbrook multi layers meaning and style – working with language and letterforms in an ingenious way.
^ He uses advertising to reveal anti-corporate messages and exhibitions to promote non-commercial work. The London based studio, which Barnbrook prefers to keep small, has long been preoccupied with projects that question the role of graphic design in society. Friendly Fire alludes to Barnbrook’s critique of his own profession and his commitment to politically motivated design.

» Find out more about Jonathan Barnbrook : http://www.barnbrook.net