Weekly sketch #41. Simple vectors over some wonderful blues.
Quick exercise to visualize a recent sense of frustration for weekly sketch número 36. Kind of got to the heart of it – but no, it wasn’t therapeutic. Moving on.
Had to put this visual down after a few weeks of massive monsoons in Costa Rica.
Quick post on a side project of mine in the SF Ferry Building – QR code links, resources, wayfinding, maps, apps and more for the tech-savvy tourist set on San Francisco’s Embarcadero.
Just wanted to throw this up on the Phase Blog – designboom is a long time favorite of mine for daily design content, inspiration, reporting, culture-tracking… and I soak it up almost exclusively through their daily eblasts. Usually on my mobile. Well-curated, always fresh, and global in scope. Architecture, product design, graphics, digital, furniture, experimental, art – all bleeding edge stuff. Check it out and enjoy.
Here’s a quick taste of a featured architecture project – ‘fragile shelter’ by hidemi nishida, outside of Sapporo, Japan. More info here.
A very structured but very creative experimental typeface project, with a great result. Restrictions lead to new and interesting things. Thrown down by Nello Russo at behance.net/nellorusso
Rad visuals, a rich color palette, cool and intuitive touch-screen interactions, and an all around smart evolution for the world of turntables. An application as an instrument, in a way. Check out the demo video on Vimeo, and see the process overview here.
This is an MFA thesis project – amazing. More work from GERGWERK, otherwise known as Gregory Kaufman is at gergwerk.com.
A couple of images from the Skizzomat Illustration Diary, a creative outlet for Marie Luise Emmerman out of Germany. This stuff is rad, but check the figurative collage work in there as well. Really nice, slightly bizarre, sensual and fleshy. Lots more to see at:
A side project of grand proportions: the Air Max1-a-day series by designer/art director Matt Stevens out of Charlotte, NC. The tribute portion is very cool as well. See if you can guess who’s who by style alone.
Young designers take note. This is a totally valid way to get some big-brand work into your portfolio. Think a step or two beyond just mock ads and make something interesting.
So we can all look back on the trends of the 80s, 90s, maybe the 00s a bit, although that’s trickier. We can all see what design styles ruled the decade – what was contemporary. So then we should also be able to take a step back from the right-now, from what’s contemporary today, right? We can see what we (graphic designers, art directors, interactive creatives, animators etc.) are working on this week, or this month, and we *should* be able to recognize the aspects of our creative work that are lining up to fall into that category of ‘contemporary’. Do we want our stuff to look and feel like everything else that everybody else is working on this week, or this month, or this year?
The problem is that ‘contemporary’ and ‘trendy’ are constantly blurring together. They’re really one and the same. When our deadline is tight, or our clients are unimaginative, or we’re too buried in work to apply our own imaginative abilities… we fall back on what’s cool right now, and we contribute to the larger body of ‘contemporary’ work that we’ll all look back on in 5-10 years and be embarrassed to have been a part of.
Wouldn’t it be great to create, sell-through, and champion creative work that breaks the contemporary trends that surround us? What are the barriers, project to project (because they’re always different), that keep us from doing the unique and imaginative creative work that we know we’re capable of producing?
This weekend, I’ll be blasting out some design comps that will, I absolutely guarantee, be trendy and cool, but unimaginative. I will have to rush my work, and I will fall back on established and expected solutions. I’d like to apologize in advance for my contribution to the cheesy design trends of the early 2000-and-teens. I’ll blow it all out and work some fresh magic the next time, I promise.