Hem & Philippe Malouin joined forces for last week’s NYCxDEsign ’17 in New York to examine varying screen solutions and what is meant by separating a space. Along the the 3D sketches and examples of space divider, the installation was outfitted with pieces from Hem’s collection with designers such as Max Lamb like the Splatter Stool, Luca Nichetto and Sylvain Willenz.
Hem’s founder Pterus Palmér along with Brittney Hart from WeWork along with Philippe Malouin spoke on a panel about the way workplace design is changing in our current a digital age where nomadic working is becoming standard. You can hear the entire talk here, hosted by Dezeen’s founder and editor-in-chief Marcus Fairs.
This London home is so fresh! The mixture of rustic furniture, colors, floral patterns and houseplants looks totally stunning and I love that all this is put into a white, spacious interior so it is looking airy and clean.
Just take a look at the dining area with a big table, assorted chairs and a magnificent view to the garden through the glass doors. I would not min to spend some summer nights here at all!
The one and only BLU just unveiled a brand new and great street painting on the streets of Campobasso for the latest edition of the always excellent Draw The Line Festival.
“La Cuccagna”, this title of the work shows Blu creating one of his personal criticism of our society and our modern life system. BLU proposes a strong representation of the systems that move modern society which are triggering an incredible narrative sequence, full of problems and different issues hidden within the first layer.
At the top, a carousel made of gold and filled with money and various luxury-type of items. The structure is controlled by the government which is filtering the common people. Down below, we have a true representation of how the carousel moves. Slaves are used by the same government for the carousel aka the society to turn on itself. Deep underground, the rejects, the waste and the pollution is appearing as a result of the carousel’s movement and appearance.
Not much to stay on this piece, straight on point and brilliant. Make sure to let us know your thoughts down in our comments section!
It has been quite a while since we heard from our good friend Kraser Tres, but he has just sent us some images of his latest work for One Urban World festival in Cartagena, Spain. Just like his previous pieces, the Spanish artist creates whimsical tales with representation, this time it is of a cheetah.
Check out more images of the mural below and stay tuned for more coverage from Europe.
Last Wednesday night we had the pleasure of welcoming over 100 guests to Swiss Fine Timing in Chicago in partnership with Tudor to check out the 2017 novelties, which are just now hitting U.S. shores after debuting at Baselworld in March. Russell Kelly, Head of Tudor Watch USA, and our own founder, Benjamin Clymer, co-hosted along with Swiss Fine Timing’s owner and manager, Gene Stern and Daniel Jordan.
The latest releases from Baselworld were on-hand for guests to see in the metal and try on their own wrists. That included the much-talked-about Black Bay Chronograph, the Black Bay 41 (the BB36‘s new bigger brother), and both the Black Bay Steel and Black Bay Steel and Gold. Drinks were had, plenty of Instagram photos were posted, and new watch friendships were made. It was a fantastic evening and we thank everyone who came out to see us and made this possible.
Enjoy the photo report below and we hope to see you at future HODINKEE events.
Mustafa Kurtuldu’s Designer vs Developer series seeks to foster greater understanding between the two camps.
Released every two weeks, each episode deals with a different issue, from effective collaboration to whether too much testing and data ruins the creative process. There will be six episodes, all of which we are featuring here on the CR website.
In episode 6, Kurtuldu speaks to Surma, a Developer Advocate on the Google Developer Relations Team, about whether the design tools we use are fit for purpose and how Dash Elements (now renamed to ‘HowTo: Components’) will help educate designers and developers about important topics like accessibility.
For each episode, Kurtuldu writes an accompanying essay. This week he looks at how design tools can distort what should be obvious and prevent us from discovering the truth.
I miss the design app Flash. It was the perfect design tool for digital designers. It visualised code concepts like using ‘movieclips’ like variables and the ‘stage’ like a UI canvas. This made the logic of programming accessible to visual makers who didn’t have a computer science background. It was also excellent for getting teams to work together. When the sunsetting of Flash began, a lot of us fought against the tide, because we believed the perfect designing environment was all that mattered and we didn’t consider the context of our users. Designing on our big screens in our perfect world with our amazing tools was great. The problem was that the user experience was terrible when it came to accessibility, performance, and consuming data. But that didn’t matter to us.
I remember waiting 5–10 minutes in excitement for the websites of MTV2, Dazed & Confused and the band Gorillaz to load. Most users accepted these experiences as at the time they didn’t have a point of reference of what the norm was. Though those same people would get bored and click away wondering what the point of the web was. As blog-like-websites started to take hold and the mobile web began to grow, Flash experiences felt sluggish and out of date. But ask any designer of that era, and they will tell you how much they miss the good old days of creative expression, passion for the experimental and to create web experiences which only seemed to serve one purpose — showing off their portfolios.
It isn’t until you watch someone trying to navigate your website or app that you realise all of the flaws in its design. Because we sit behind big screens with the latest software and hardware, our actual experiences are divorced from reality of most people. Even when we test things, it’s usually on a device connected to our computers, with a decent internet connection in office lighting.
Most users don’t have those types of privileges. Mobile phone networks lie, laptops have some corporate software installed that slow them down, phones have bumpers and cases that obscure UI to the extent of blocking users from tapping a button if it’s too close to the edge of the screen. When you see the thing you have created for the first time in the real world fail, it’s a bit like thinking your house is tidy, then a guest walks in and your world view shatters as you see how messy your home actually is. You start panicking, stumbling and stuttering “yeah, yeah, yeah… Eerr one sec… let me remove my socks from those tea cups….hehe welcome….”. Seeing your designs in the real world under real conditions can be a sobering experience.
A Clearview highway sign in Farmington Hills, Michigan, Photo: Public Domain
There is a story about designing in the right context that has become a common lore among type enthusiasts*, and that is the design of the typeface Clearview and highway/motorway signs. It’s believed that one of the primary causes of traffic accidents in the United States is due to illegible letter forms on the signs as a 5th of all drivers are elderly and/or have poor eyesight paired with an optical effect that occurs during sunset and sunrise called halation. This is when the shapes of an image become foggy due to the light blurring the edges. For example, when headlights shine on highly reflective road signs during halation it makes the text hard to read because the light contrast keeps changing.
In 1989 graphic designer Donald Meeker and typographer James Montalbano decided to create a typeface that would solve the issues of legibility during halation. They felt the primary cause of fuzziness was the illegible letter shapes of the existing typeface, Highway Gothic, and not just the shiny material they printed on, or the size of the text.
Above Sketch showing Clearview development from existing highway typeface. Image: Creative Review, January 2005
Over the course of 10 years, they created a new font called Clearview Hwy which resulted in improved legibility and potentially life saving. It was adopted by American Federal Highway Administration in the US. Or so it would seem. In 2014 a further study showed that the increase in legibility had more to do with the result of recognition, rather than readability, due to learning effects.
The initial research didn’t necessarily simulate the actual process of reading a sign: detection, recognition, and reaction via many glances. They also found that the Clearview Hwy was tested against weathered and old signs which were naturally worn out and hard to read hence providing false positives. Though Donald Meeker does dispute these findings.
A little bit of knowledge can be a dangerous thing. At times we potentially fool ourselves into believing that we’re designing in context because the test environments and device labs we create don’t reflect the real world. The tools and processes we use can have a huge impact on the things we create, and we must tread carefully. Because changing a typeface under potentially false pretenses has negative economic impact on society in the same way that designing an app with lots of images costs the user real money through data because we only design in a WIFI environment thinking fake 3G throttling in our dev-tools is adequate.
The definition of design for me at the beginning of my career was about choosing the right typeface and colours. That design was something I was born to do and as such should never be challenged. These days, for me design is about doing the right thing for the user and less about the visual. It’s about honestly looking at the problem and trying to evaluate the best thing to do and admitting that maybe I don’t have all of the answers. Because I feel the next step of evolution for us is not a physical thing but a psychological one — the is the realisation that maybe we’re wrong. But if true, then is this a paradox. My head hurts. I just want to make things look pretty. I miss Flash.
When 1,200 artists and designers put on a show, amazing things happen
The Nottingham Trent University (NTU) annual Art and Design Degree Show is one of the largest, and most diverse, exhibitions of work by graduating artists and designers in the UK.
The 2017 week-long event, from 3 – 10 June, is completely free to the public. It takes place in Nottingham on the NTU City Campus.
The show unites the creative force of just over 1,200 final-year students in a wide range of subjects spanning visual arts, photography and graphic design; fashion, knitwear and textile design; fashion management, marketing and communication; theatre, media, film and costume design; as well as architecture, interiors, product and furniture design.
Last month, for the opening of his exhibition “Where The End Stats” at the Yuz Museum in Shanghai, Kaws unveiled a new limited edition color way for his set of companion figures.
Coming in Full Body and Flayed, the companions feature a reddish “Blush” Colorway. Initially only available in Shanghai, the American artist just launched a mailing list on his website so fans can sign up to know when the figures will be released. You can sign up at kawsone.com right now.
This issue is better than the first two, but I think the fourth issue is even better than this one. Just to remind everyone, this entire undertaking was done to inspire people to do their own. As you can see, these are VERY simple publications. VERY simple. Issue Three is all about California. All about random images made over a twenty-year span. All black and white. And all analog if my memory serves me correctly. Many of the images in Issue Three were made when photography was nearly my entire life. There was a twenty-year time frame when photography was just about everything I thought about. I would find stories, shoot them, print them and try to find homes for them, mostly on my own. The assignments I was doing at the time were frequent but boring, poorly planned and not long enough to really result in anything meaningful. I found the most interesting stories came from personal work. I still feel this way. One of the strange side effects of having this magazine has been having clients approach me after all these years asking me to shoot things. They see the work on the pages of these magazines and ask if I can do work for them. In ONE situation I’ve said “Yes,” but that is still working itself out. In all other cases I said “No.” I said this because I know they want this work but they don’t have the time or money to actually make it. They want the IDEA of this work. Not the work itself, and I know far too much to ever get sucked down that road again.
Another thing I’ve learned is I want to really design Issue Five. The cover will keep to this tradition but the inside will look very, very different. I’m gathering ideas now and will begin to implement. You are probably getting sick of me saying this but you should be doing this, or something similar, on your own. Make me happy and go to print even if you make only one copy. Create your series and see what it does for your photography life. This was all done with Blurb Bookwright by the way. Again, two formats with the EXACT SAME content. I do this because looking at the work in differing formats feels, well, different. Some prefer the classic mag while others like the newer, perhaps hipper, small Trade. I’m in the middle. I like the real estate of the magazine but prefer the uncoated stock available in Trade. Any questions hit me up below. Good luck, have fun.
Sepe recently completed a beautiful wall in Saint-Petersburg, Russia in collaboration with Urban Nation Berlin, Goethe Institute and Street Art Museum. The theme was the 100th anniversary of October Revolution in Russia.
Sepe’s painting is a pastiche of a painting by russian artist Ilja Riepin titled „Kurskaya Korennaya” ilustrating the Eastern procession in the district of Kursk. In his artwork the holy insygnia are replaced by the huge statue of golden idol – child carring a Kaloshnikov rifle. It symbolizes revolution as a birth of an idea – child that’s expected to grow up strong and healthy, bringing its parents happyness and reasons for pride. Instead of this it grows up for an unpredictable tyran and soon terrorises his own parents.
The rescuer turns into the torturer. Peacemaker turns into aggressor. Planned rationalization and ‘brighter days’ brings violence and oppression instead.
The artwork also strongly refers to current political situation in this region. Bold head is not an accident…