Move the mouse cursor over the text that reads “GRAMMY NEWS”—instead of highlighting the text, the designer applies a soft glow to the background. A very subtle, effective technique I have not seen before.
Move the mouse cursor over the text that reads “GRAMMY NEWS”...
McMaster-Carr boasts over 450,000 products. Their site is a great example of simplicity and usability. The austere design and limited use of images gives it a matter-of-fact look and feel. Be sure to play with it to see how subcategories, listings, and ordering are handled. Yes, it is extreme but I admire their willingness to stay lean.
Easier said than done. Why would an illustrator of the caliber of Michael Halbert share the secrets of creating scratchboard illustrations? I suspect because it will convince you to hire someone like Michael Halbert—he demonstrates that it isn't easy. These in depth tutorials are a real treasure.
Michael Halbert's Scratchboard tutorials...
Black and white is beautiful. The limited use of color combined with a series of powerful black and white images builds the story-quality of this site.
A great example of a “less is more” palette...
I like the way the illustrator integrates the real with the unreal. The question I ask myself is, “How can I use the same idea in my own work?”
The studio is SifonDG in Argentina (you may need to click the image to enlarge it)...
Their portfolio (nice stuff)...
John Grimwade is among the top information illustrators on the planet. You may have seen his diagrams in Condé Nast Traveler, his icons in Fortune, or his maps in Popular Science.
A rough sketch of a project in the works...
Here is a handy little CSS generator for playing with typefaces, sizes, and colors. You adjust the settings until you find just the right combination then click “Generate CSS” to create and capture the code.
Appears that the stress of the Christmas season has reached the folks at FutureMedia. If you have anything to do with web design, you'll appreciate this rather unconventional interactive holiday card.
If you've been reading for a while, you know I'm a big fan of “different”. Frank Maier's illustrations are so familiar, they look different. Reminds me of early vector drawings that, because of the limitations of the software, were necessarily simplistic. No limitations here, just interesting, clear concepts and imagery.
As publisher FontFont tells it, “It took three years and three designers to develop FF Meta Serif. ...Erik Spiekermann made several attempts at designing a counterpart for his groundbreaking FF Meta. He recommended Swift, Minion, FF Clifford, and others, until he realized that he should just buckle down and draw his own serif Meta. True to his principle of collaboration, Spiekermann enlisted the help of accomplished type designers Christian Schwartz and Kris Sowersby.” Gimme.
Meta Serif by Spiekermann, Schwartz, and Sowersby...
My word processor is heavy—bloated with all types of complexities that I never use. In fact, I seem to spend more time finding and disabling features than I do enabling them. Enter Buzzword. Adobe just bought this elegant little gem so it may be going somewhere. Not only can you perform all the basic word processing tasks, you can also invite others to collaborate.
The story goes like this: Charles S. Anderson inherited a substantial collection of original artwork from retired commercial artist Clyde Lewis. Lewis had spent his career producing advertising illustrations for everything from matchbooks to menus. That collection was the catalyst for what today is one of the most unusual and lauded stock art libraries. Much of it is rights-managed versus royalty-free (meaning the licensing cost of images is calculated on the basis of how you intend to use it). But even if you don't have a project in mind, do yourself a favor and take a look. Keep it in your back pocket for future use.
Switch over to Anderson's design studio to see some of the images in use...
“Similar Diversity is an information graphic which opens up a new perspective at the topics religion and faith by visualizing the Holy Books of five world religions.” As I understand it, they used a programming tool to search the texts and to calculate the connections between them—the number of times particular terms are used and so on. What I want to point to is the overall design—how the artists use proportion and color to communicate the results.
