If you’ve not heard of Tinker Hatfield, you’re sorely missing out. Tinker Hatfield was originally hired by Nike as their corporate architect in 1981, designing showrooms and stores. But then in 1985 he was asked to start designing shoes, realizing that designing shoes was going to be a big deal in the near future. He was responsible for designing the Air Max 1, probably one of the most well known shoes with it’s clear window, back in 1987. To me, the guy is a visionary, he’s helped shape the way we look at athletic shoes. He also seems like the nicest guy on earth, someone I’d want to grab a beer with and pick his brain about design. Here’s my favorite quote from the video, which I think is nice:
“When you sit down to design something, it can be anything, a car, a toaster, a house, a tall building or a shoe, what you draw or what you design is really a culmination of everything that you’ve seen and done in your life previous to that point.”
Sometimes, my favorite part of a movie is the title sequence. In this instance we have a very clever title sequence for a movie that doesn’t really exist: a documentary about the history of the title sequence. Directed and edited by Jurjen Versteeg, A History of the Title Sequence pays homage to the influential designers that have changed how important the titles are, and how they can contribute to developing a story. From an interview with Versteeg:
“It seems like the film industry needed fifty years to realise the importance and effect of a good title sequence. The fact that the curtains in most cinemas were closed during the title sequence, signifies how much of an underestimated medium it was. Then you start to realize the impact that designers such as Saul Bass have had. Seeing his work in this context made me appreciate his titles even more.”
It seems bizarre to me that titles used to play behind closed curtains, because it snubs more than just the early illustrators who lettered the titles, it ignores everyone in those titles that actually made the movie possible. Ok, a lot of those folks are in the closing credits nowadays, but the title sequence has really become integral in some instances; setting the scene, the mood or the tone for what we’re about to see. I don’t always remember bad ones, but the good ones certainly stand out.
I’ve already posted the song, but I have to post the video to Björk’s first single, Crystalline. Once again she’s collaborated with Michel Gondry on the video, just like she has so many times in the past. What’s great is that this feels like one of Gondry’s old videos, lots of beautiful weirdness. Gondry collaborated with Peter Sluszka to achieve the look and feel of the video, here’s some info on how they did it:
Shot on 16mm Bolex cameras, “Crystalline” feels more like an experimental sci-fi film than a typical music video. Lighting effects were achieved through multiple exposures that involved backwinding or capping the lens to painstakingly capture numerous passes on one frame of film. To ensure repeatable but modifiable actions, servo controlled LED rigs were custom designed and built.
Bjork’s performance was initially recorded against black on multiple cameras and then projected into the set against a spinning disc hovering above a cratered moonscape. Three projectors, arrayed along an arc at 30 degree intervals with synched performance create perspective shifts when the camera moves around the disc giving Bjork an ethereal, holographic presence.
Additionally, fabricated ice crystals, streaking comets, hammered metal drums nestled in moon craters, concentric sand patterns, and Gondry’s abstract 2D drawings all contribute to the cosmic vibe.
I know that her next album is supposed to be like a series of singles, all with their own iPad app and all that jazz, so I’m excited to see where she goes from here. I must admit, I hope she sings more like she did in the old days.
Today we have images of iconic architecture sprayed onto the sides of a particular building in Lisbon. I found this gallery on SpaceInvading, where the homem (or mulher) behind the spray can has depicted works from a range of architects including SANAA, Niemeyer, Utzon, and others. Maybe you recognize the Bruder Klaus Chapel by Zumthor above, or below that the Casa da Música by OMA.
I’ve felt like I’ve been neglecting illustration and design lately, so I’ve been on the hunt for some rad stuff to share, and I think I’ve got quite a gem here. His name is ZOMBIEHIPP, or I’m assuming it’s a him because of the level of nerdyness this guy reaches. I couldn’t find much of anything out about him, but his illustrations are fantastic. He has a style that’s a mix between Mike Mignola and Adam Warren, both hardcore comic book artists, so this is a huge compliment. Plus I really like the way he colors his pieces, for example, he never uses any black, it’s usually screened with some shade of red or purple.
Honestly, you have to go to his Flickr and check out all of his work to see what I mean. It seems like he’s been working pretty prolifically lately, cranking out tons of amazing, nerdy pieces one after another.
It’s our second week of Animal Collective inspired desktop wallpapers, and today we’ve got a totally weird one from Baltimore illustrator Jimmy Geigerich. To be clear though, that’s exactly what this wallpaper should be, because Jimmy got one of the weirdest, most difficult Animal Collective records to interpret, 2001’s Danse Manatee.
Every week I do some research on each album, and a part of that is listening to each album. Danse Manatee was and is incredibly difficult to listen to all the way through. I can handle noisy, but this album is like chaos through organs and drums. This is the first album to feature The Geologist though, who also claims it to be one of his favorite albums. According to Wikipedia, “the band was into extreme frequencies. Their goal was to experiment with intense high and low sounds and how they occupied space in the room and moved around in the listener’s head.” Well, that explains a lot.
Thankfully Jimmy Giegerich had the skills to handle this album. I love Jimmy’s style, he’s like that guy in middle school who would draw the grossest things possible all over his notebooks. Kind of a Pushead meets Japanese culture vibe to his work, it’s fantastic. Here’s what Jimmy had to say about his wallpaper:
I chose to do the piece that I did for a few reasons. Most of my illustration is narrative driven, so I couldn’t help but start to come up with kind of weird ideas for scenes and things while I was listening to the album. What I really like about the album and Animal Collective’s music in general is that their music seems to allow the listener to interpret it in their own way, and that’s kind of what I did here. I drew a whole scene based on different elements of the album, with the main element being based off of the song Meet the Light Child. What really stuck out to me about this song is that it goes from sounding kind of creepy and harsh, to sounding kind of nice and mellow, and back and forth. Like something that is both exciting and frightening at the same time, which is where I came up with the emotions of the figures around the “light child” in my piece. I wanted to go for something that fit well with the mood of the album, but told it’s own weird story at the same time.
I think he did an awesome job, and even though there’s a lot going on, it’s still dark enough to easily see your icons (trust me, I tried it). A big thanks to Andy Mangold yet again for curating this series, he’s done an awesome job so far. Check back next Wednesday for Animal Collective’s Campfire Songs.
I was browsing through Flickr yesterday when I came across the work of Guim Tió, who’s work reminded me of a fashionable Joe Sorren. I’m not entirely sure what his process is, but it seems to me like his work is technically mixed media. It looks like he’s taking an existing photo, something like a make-up ad, and then applying pastels over the top of them, creating these rad looking images in the process. Every now and then you can see a bit of a real person, which really makes his images look even creepier. Overall I find the aesthetic to be pretty cool, it’s pretty fun looking through all his work.
Yesterday I bought a new app called WURM, which describes itself as a “generative art canvas that creates stunning whimsical patterns with the gliding gestures of your touch”, which is quite true. As you can see in the images above, WURM lets you play around with a bunch of fun tools, easily creating these beautifully complex patterns.The app comes with 5 shapes, 10 color palettes, and has features like transparency and multi-touch support, the multi-touch being my personal favorite. You can smear your fingers all over the place and it beauty springs out of them, it’s great. You can also export the images you create and use them as background for your iPad or your iPhone or share them with people. It’s only $1.99, so it’s totally worth it.