There’s something I love about redesign concepts when they relate to foods and drinks. We see so many of these products day in, day out that to see them in a new light fascinates me. Kara Haupt has created something that perhaps defies “redesign” and approaching the “reinvention” space, creating a new concept from something familiar. In my mind this looks like it would be an aged, super premium version of Jäger that you take shots of on your yacht. Plus, “old man Jäger” has a really nice ring to it.
You can see her full concept by clicking here.
The A’ Design Award & Competition is the world’s leading international annual juried competition for design. The A’ Design Accolades are organized in a wide range of creative fields to highlight the very best designers from all countries in all disciplines. Entries to the competition are peer-reviewed and anonymously judged by an influential jury panel of experienced academics, prominent press members and established professionals.
The A’ Design Prize, given to award winners, includes PR, publicity, and marketing services, in addition to an exclusive invitation to the glamorous Gala-Night and Award Ceremony at Como Lake, Italy, where award winners are presented their exclusive trophies, hardcover yearbook of best designs, and certificates.
Submit your work at adesignaward.com/registration.
Deadline for entries to the A’ Design Award & Competition is on February 28, 2015. Results will be announced on April 15, 2015.
Last year, Collective magazine conducted an interview with Marieke Stolk, Danny van den Dungen and Erwin Brinkers, who are better known as the designers behind Experimental Jetset. They speak about they’re process working together, how you evolve as a designer, dislike of the term ‘target audience’, and much more.
In particular I loved their mentality, that they “don’t study theory; we live it”, which comes across in a very heady, sort of existential way. I’m not one to over-intellectualize ideas (you’ve read this blog, right?) and most of the time that stuff goes over my head. But you can tell that the guys from EJ, however deep their thoughts may be, really do live by their words.
We know, there are plenty of critics out there trying to make designers feel inferior, trying to prevent designers from making creative (and intuitive) use of theory, trying to force designers to think in a more ‘rigorous’ way – but really, to speak with Raoul Vaneigem, “such people have a corpse in their mouth”. They are supporters of a dead and rigid notion of theory.
Probably one of my favorite interviews I’ve read in a while, click here to read the full piece.
Found through Readdd
Came across these killer prints by Studio Esinam over the weekend which have landmarks and other notable buildings rendered in a minimal line art style. The effect is a series of works that are filled with wonderful details yet can sit comfortably in the most simplistic of spaces. I’d personally love one of these prints for my bedroom which Kyle and I keep relatively white and clean. I feel like I can relax in there better because of it.
You can view all 10 prints by clicking here.
A little bit of old, a little bit of new. That’s what Wespi de Meuron Romeo architects have put together with their Stone House transformation in Scaiano, Switzerland. The space is fresh and contemporary in so many ways, with the glass filled cutouts, polished concrete floors and ample amounts of light.
This concept allows on the one hand the authentic conservation of the historic stone façade, which tells the history of the house and on the other hand, it generates zenith light for the rooms with exceptional light reflections. It would not have been possible otherwise to get sunlight into the rooms, in such a village structure with narrow streets.
In my opinion this looks like the ultimate getaway. Think it’s available on Airbnb? You can see more photos of the entire renovation on designboom.
Photo © Hannes Henz
The always inspiring Tobias Frere-Jones has started a new series of posts on the mechanics of type and so far it sounds perfect for the novice and expert alike.
This new series of posts will explore what I call “typeface mechanics”, the behind-the-scenes work that makes typefaces visually functional. It is what placates the stubborn oddities of human perception, helps or hinders the user, and informs long-standing conventions of design.
The first part is about vertical and horizontal position of type. Logically you’d think all the letters would line up perfectly though unfortunately our brains don’t work that way. Take a read and see for yourself.
Sufjan Stevens has a new album called Carrie & Lowell which comes out March 30/31. Now he’s released a new single called “No Shade in the Shadow of the Cross” which I’d describe as a return to the old Sufjan. More traditional in sound, it combines Sufjan’s voice with a steady plucking guitar and the slightest trace of river flowing in the background. It doesn’t get more calm and lovely than this.
I enjoyed this post over on Medium by Matt Cooper who writes about his experience over the last 18 months designing line based icons. For a while there everyone was in a tizzy over whether or not line icons were legible or not though that fervor seems to have died down. Now we’re starting to see some well-executed icons in this style like the one’s Matt has made, which to me show the validity of line based icons.
If you’re curious to see more examples you should check out Designspiration’s collection of line icons. A plethora of icons to inspire your own work.