It’s important to keep a sense of perspective in your work and your life, and Gradiate’s 3 Rules For A Happy Designer are a few strong points we should all keep mind. For me, it’s his first point that really nails it.
1. It’s all bollocks and none of it really matters. Yes really. That stress about the thing that went really wrong, your burning desire to make this your best design ever that in turn makes you miserable, the argument about the late print, graphic design, none of this is what really really matters in life. Release yourself from that stress. No one is dying. It’s pixels, type and colour. Work hard, but enjoy it and relax.
You can read the other two points by clicking here.
I’ve been a long time fan of Finnish artist Kustaa Saksi and his organic-feeling, nature inspired work. It’s been fascinating to see the evolution he’s taken over the years, though his most recent work may just be some of my very favorite – a collaboration with the legendary Marimekko.
Finnish artist Kustaa Saksi makes his Marimekko debut in the collection with the fascinating Merivuokko (sea anemone) and Meriheinä (sea grass) prints that are seen as fabric, home textiles and tableware. The prints were inspired by the rhythm, colours and atmosphere of the sea floor that he has experienced during his scuba diving trips. The Merivuokko pattern depicts the depth and abstract, clear forms of the sea and details of its flora and fauna. The free, swaying vegetation of the sea floor and its organized chaos, on the other hand, gave rise to the light, ethereal and moving Meriheinä print.
I love the range that his work has hit, going from homewares to fashion. It shows the versatility of his creativity and how these unique patterns can be used for some many fascinating applications. I don’t think the collection is out quite yet, so the trick is figuring out how to get one of those pillows below…
Crafting unique, standout labels for a new beer seems like an awesome challenge. Making sure that the brew stands out in a competitive market can be difficult as well as creating a look that feels unique and original. Manual, the SF based design firm, has struck gold with this sophisticated look for the Fort Point Beer Company, a craft brewery located in San Francisco’s Presidio.
The brewery resides in a historic Presidio building that was formerly used as an Army motor pool. Their iconic location—close to both the Golden Gate Bridge and the Fort Point National Historic Site—provided inspiration for a modular, illustrative brand identity. The result is a brand that locals can identify with and, as the brand grows and becomes available throughout the nation, can be regarded as the new San Francisco craft beer.
I’m a sucker for gold these days (my team will back this up) and the black, white, and tomato red color combinations really make me happy. The geometric patterns have a playful nature which remind me of the work of Mary Blair, and at the same time honors a San Francisco landmark.
The choice of a Copperplate Gothic-esque font pairs well with the bold, geometric lines that make up the label. It has a feeling of being both contemporary yet classic, bringing to mind the early days of San Francisco. The overall branding is extremely charming and inviting, and when you see the bottle it certainly looks like something new that you want to try.
You can see more images from the project by clicking here.
Lately I’ve been really impressed with the creative photography that Chuck Anderson has been posting to his Instagram lately. The aesthetic blends surrealism and blown out lights and colors which make for a visual feast. Now he’s offering a course on how to do similar things with your own photos in this Skillshare class titled Everyday Surrealism: Creating Art from Photos.
Artist Chuck Anderson is known for his surreal, colorful aesthetic and the way he merges photography, design, and art. In this 45-minute class, join Chuck as he photographs 3 scenes—architecture, a still-life, and a landscape—and then transforms each into a collaged work of art using (amazingly) a single mobile app.
Throughout the class, Chuck shares his vision so that you understand the philosophy behind every technique. You’ll refine your eye as a designer, sensibility as a photographer, and imagination as an artist. Whether you want more experimental images for an upcoming exhibit, album cover, show poster, wall print, or even your Instagram feed, this class is the perfect combination of vision, technique, and real creativity.
Valencia, Spain based street artist Felipe Pantone popped up in the Explore tab of my Instagram feed and I’m really feeling his work. It’s kind of this blend of geometric black and white overlaid with outlandish neon, metallic colors that bursts off the walls.
World-class book cover designer Peter Mendelsund recently sat down with Fresh Air‘s Dave Davies to speak about his craft. The interview covers the why of a book jacket, why dead authors get the best covers, and the future of physical books. My favorite part was his anecdote on the process he goes through when he designs a cover. We should all beware creating “Frankenstein” designs.
DAVIES: And typically, how many versions will you make up?
MENDELSUND: Before I’ll show a jacket, I’ll tend to make a hundred and up various versions of a jacket for it. And that’s before I show in to an editor or an author. And when I show something, I tend to show one – the one that I think really works. I tend not to show multiple options because that sort of engenders confusion in people. And then there’s this kind of – there’s this kind of thing that happens where people look at the various things you’ve made, and they want to pull the aspects of the various comps that they like and put them together in kind of a – into a kind of a Frankenstein jacket. You know, take the color from this one. And the type from that one. And the imagery from that one. Can you make something out of that? One of the interesting things about jackets is that the material isn’t really transposable in that way. You know, one jacket works well with those components. You know, you bring in a different color, and all of a sudden, everything falls to pieces. So I like to show one thing only when I show the client.
Since my childhood the idea of the “golden ticket” has always seemed like a miraculous dream. Obviously I’m referencing the 1971 film Willy Wonka & the Chocolate Factory and the way in which the children could get a tour of the fabled and mysterious factory. Which to me is why these invitations for the Fall/Winter 2014 runway show of women’s luxury brand Honor are so enticing.
Designed by New York design studio High Tide, the invitation’s front side features a mirrored gold foil debossed with the Honor logo, which contrasts beautifully with the rich walnut wood on the back side. I can only imagine receiving one of these in the mail and how special you might feel, this shining, beautiful piece of design that been so meticulously thought out.
Be sure to look at the rest of High Tide’s work as well, an enviable body of work with an impressive roster of clients.
When a delicious meal has been set before you have you ever stopped and wondered if the vessels it is being served in are enhancing the flavors, smells, and presentation ability? Most likely not, but if you’re an obsessive barista working for the most well-respected small coffee chain in America, finding that level of perfection might be an idea you dwell on.
That the story of the Lino cup, a creation between ex-Intelligentsia Director of Innovation Kyle Glanville (who now runs my favorite coffee place Go Get ‘Em Tiger) and LA design studio notNeutral. Together they experimented to figure out a more optimal cup for coffee drinking.
The entire R&D process took over a year. Triangular-shaped cups intended to capture precious aromas were nixed (turns out, a triangular canvas makes for terrible latte art). Handles were shaped and reshaped. The cup’s interior curvature, or slope, was meticulously calculated, with notNeutral printing one 3D prototype after another for Glanville and his team to test in Intelligentsia’s lab. There, they pulled shots and poured milk, videotaping the entire process so, like coaches watching tape, they could replay the footage in slow motion and catch flaws in play.
“Sometimes the latte art would break,” Glanville says. “The flow of the milk would go under and bubble up on the other side, breaking the pattern at the top.” The slope was corrected. More prototypes printed. More milk poured. More tape replayed.
Food Republic has the whole story which I found fascinating. These cups are only the beginning with more on the way, including these Gino cups, which are double-walled glass vessels which they released just last week.
The old chef’s saying is that you with your eyes, and artist Wei Li’s collection of Dangerous Popsicles puts this adage to the test. She’s created unique sets of ice pops, one based on assorted forms of cacti and one based on the shape of life-threatening diseases, each of which begs the question: Would you eat these?
Designer and artist Wei Li’s collection of cacti-inspired prickly popsicles are beautiful, yet dangerous. These popsicles intrigue people with their other-worldly looks while directly alluding to the unpleasant experience of being poked by a cactus. Imagine our tongues, one of our most sensitive organs, being “massaged” by these spiky surfaces. Will pain bring pleasure?
While trained in user experience design, the designer is less concerned with enhancing user-friendliness, and more interested in the aesthetics of user-unfriendliness, and even uselessness.
Building from the cacti collection, Li’s second suite of popsicles are inspired by life-threatening viruses. What might an HIV popsicle taste like? Or would you even taste one in the first place? By fusing repulsion and delight, Li’s work emphasizes that the eyes and mind can taste as well as the tongue. The popsicles are nothing but water and sugar, but ideas of deadly viruses and the spikiness of cacti stimulate a sensory reaction, even before the first taste.
What a fun concept for a project. I’m glad that there are people out there who choose to address peculiar ideas like this.
Seams is a collection of five molded ceramic tableware centerpieces designed by Benjamin Hubert Ltd for the Italian manufacturer Bitossi Ceramiche. This project came about as part of the studio’s research into creating mass-produced products with one off details by manipulating a traditional ceramic manufacturing process.
In the ceramics world, seams are a common unwanted side effect created during the casting stage of manufacturing. Typically they’re trimmed off before the piece is set, but the studio thought that by including them in this work these small imperfections might actually enhance the final outcome. I think it’s a really nice touch and that the seams add a unique decorative detail that celebrate the process of how the work was formed. To get a better sense of this process you should check out the short animation below:
Benjamin Hubert Ltd is a London based studio founded in 2007. Comprising of a team of industrial designers, researchers and engineers who work across a broad range of sectors including furniture, lighting, consumer goods, architectural installations and interior design.
Bitossi Ceramiche are a world-renowned manufacturer of ceramic-ware who have been making work since the 1920s. Based in Florence, the factory have collaborated with a whole host of famous designers in the past including people like Arik Levy, Fabio Novembre and the Bouroullec Brothers. This collection was completed earlier this year and is Benjamin Hubert Ltd’s first collaboration with the company.
More projects from Benjamin Hubert Ltd can be seen on their website.