I love these stamp designs created for the Royal Mail by Hat-Trick Design and letterer Marion Deuchars. There's just something about black, white, and red that makes a subject a bit more profound.
This is the rare case when lettering that might normally be construed as having a light or lyrical tone is successfully paired with a serious subject. Why is that?
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Mitch Blunt offers an example of how an illustrator's style can evolve throughout their career. Between the last example and the first three, he found a whole new way of expressing his ideas. And with it, a list of clients such as Wired, Google, and The Atlantic.
Thanks to my son Rob Green for pointing us to it.
An interview with Mitch Blunt...
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Two reasons to watch this video. First and foremost, I really like the way it tells the story of its subject. The juxtaposition of a person with type and illustrations is effective and the scene us use to build the story drew me in and made me want to sick around for the outcome.
The second reason to watch the video is to learn about Hyper Island, a school of sorts for students and a continuing education source for working creatives.
It sounds as if, one important aspect of the experience is to get you up to speed on the digital world -- as one attendee, Kathy Hepinstall a former Creative Director at Martin Agency, put it: "It used to be charming for a creative in advertising to be a technophobe. Not so anymore so climb out of the tar pit, Dino".
I don't know enough about it to know just how relevant it all is, but the testimonials by attendees reads like a who's who of advertising agencies so there must be something cooking.
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Here, by way of Will Schofield's 50 Watts blog is the work of Ahn Min Jeong, an artist from Seoul, South Korea. These works are analogous to the kind of fine engraving you'd find in the design of currency. In some cases you see graphic design mimicking art, in this case (to me) it is art mimicking graphic design. (Her website presents her name as Ahn Min Jeong, but is looks as though others refer to her as Minjeong An — apologies for the discrepancy.)
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How do you make a better map? Ask cartographer David Imus. Mapmaking is not only about measurements and data, a great map is a feat of graphic design.
David Imus recently won the Cartography and Geographic Information Society's (CaGIS) annual Map Design Competition, Best of Show designation for his acclaimed new map: The Essential Geography of the United States of America.
Seth Stevenson takes a look the making of the map and explains what makes it significant in a piece he wrote for Slate.com.
Many thanks to Wendy Hersh for pointing us to it.
The Essential Geography of the United States of America...
An insightful piece about the map by Seth Stevenson for Slate.com...
The Imus Geographics website...
The Cartography and Geographic Information Society's (CaGIS) website...
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The Walker Art Center in Minneapolis and the Smithsonian Institution's Cooper-Hewitt, National Design Museum, in New York have co-organized an international exhibition titled Graphic Design: Now in Production — what is being called, "an ambitious look at the broad-ranging field of graphic design".
As the exhibit's website describes it, the exhibit "explores how graphic design has broadened its reach dramatically over the past decade, expanding from a specialized profession to a widely deployed tool." The work featured, "explores design-driven magazines, newspapers, books, and posters as well as branding programs for corporations, subcultures, and nations".
Whether or not you are able to visit the exhibit, I encourage you to order a copy of the exhibit catalogue, a 225-page book that includes hundreds of examples plus twenty-some opinion pieces on the recent history and current state of graphic design by the exhibit's curatorial team and others.
The irony is graphic design, as Ellen Lupton puts it, is "about doing something in the world" or pragmatics — and the very nature of such an exhibit is to look at the work and describe it (for the most part) outside the context for which it takes action. It will fascinating to see how well the exhibit is able to bridge that divide.
I'm anxious to see it — here are the venues:
Walker Art Center, Minneapolis through January 22, 2012
Cooper-Hewitt, National Design Museum, New York, May 16, 2012
Hammer Museum, Los Angeles, California, September 30, 2012
Contemporary Arts Museum, Houston, Texas, July 19, 2013
Southeastern Center for Contemporary Art, Winston-Salem, NC, Oct 24, 2013
About the exhibit catalogue...
Purchase the exhibit catalogue...
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While we're on the subject of poster design (my previous post) — three more excellent designers.
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A few years back illustrators Jason Teegarden-Downs and Billy Baumann started Delicious Design League as a hobby — mainly to create posters for events in the Chicago area. Today, they not only create illustrations for a long list of top tier clients, they design and print posters for sale in their store.
I'm a big fan and have a couple of their posters hanging on the walls of my home.
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Here's an interesting idea: When you click on a name in the The National Cartoonists Society Members Directory, up pops portfolio sample and mini-bio.
Click on a name and see a mini-portfolio and bio...
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I like Lyons' hard-edged, three-dimensional, textured illustrations. As always, good illustrations require both a unique style and exceptional ideas. These work on both levels.
Interesting note... Lyons' counts among his influences, the Tintin books...
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If you were in search of an unusual photograph or illustration in the pre-digital years, one source you could turn to was the Bettman Archive. Typically, you'd call their New York offices and talk to a researcher. You'd explain what you were looking for and they would search Bettman's huge collection and send you a package of photocopies of what they had on the subject. If, for example, you needed a steel engraving of an old oak tree — they'd give you five or ten from which to choose.
Fast forward to 1995: The Bettmann Archive is sold to Corbis, the digital stock photography company founded by Bill Gates. Then to 2002: The entire collection is transferred to a secure, climate-controlled, underground storage facility maintained by Iron Mountain, an information management company.
This is the first time I've seen a "civilian" report on the Corbis collection. It's are real treat to see the facility and get an update.
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If you're a fan of House Industries — designers of all things having to do with lettering — you'll want to see this interview from Gestalten.tv.
An interview with Ken Barber of House Industries...
Ken Barber's blog, Type and Lettering...
Bios of the entire House Industries crew...
The House "Trailer" (don't blame me for that, that's what THEY call it)...
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In one interview Leandro Castelao cites "motherboards" as one of his influences. You'll see exactly what he means when you see his work. He demonstrates great use of lines, hard-edged shapes, and bold color palettes.
An interview with the artist...
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When you add up the costs of hardware and software, there has never been a time when there was LESS of a barrier to entry to 3D rendering and animation.
Here are some examples of what can be created with a system and software that I can't image would cost more than $10,000. By comparison, thirty years ago, though such technology didn't even exist, similar results would have cost hundreds of thousands, if not millions of dollars.
We're clearly headed into an era when the barrier to creativity is the intellect, not the tools.
An example of a piece produced (in part) using CINEMA 4D....
One version of the software...
Curious? Here, from Lynda.com, is a very brief summary of the Cinema 4D workflow...
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Let's talk a little bit about film production design and art direction. I live in Richmond, Virginia where Steven Spielberg is currently filming his latest motion picture, Lincoln. We walked around the Virginia State Capitol this afternoon and took a look at how Spielberg's production company is transforming it into an 1860's White House.
It got me thinking about my days writing and directing industrial videotapes — how-to videos and small productions on budgets, most of which, wouldn't equal the cost of one days lunch for the cast and crew of a major film. But it reminded me of the importance of art direction in film, how much hard work it is, and how satisfying the results can be.
As described by Media Match (an online database of over TV and film professionals), the Production Designer is responsible for the entire art department and helps the director achieve the film's visual requirements. The Art Director facilitates the production designer's creative vision for all the locations and sets.
If you've ever wondered why films cost what they do, take a look around this one location and at the extent to which the producers have gone to make it believable. (Please excuse the quality of the images, I was documenting, not composing.)
The shot below shows what is actually the back side of the Virginia State Capital. The columns and roof are a facade build for the picture to simulate the White House in Washington DC at that time...
The paved drive that surrounds the Capital has been covered with a thin layer of mulch...
Something in the shot we don't want the camera to see? Put some trees in front of it...
Need to hide a trash receptacle? Camouflage it with a pile of supplies...
What separates one film from another? One thing is the level of detail. Check out the coloring of the tents, the fabric on the chairs, and the labeling on the ammunition...
The Governor's Mansion is just outside your view beyond the portico....
On the periphery there are other props being readied...
and remnants of production everywhere...
This is the full job description for a Production Designer...
And a job description for an Art Director...
The Art Director for Lincoln is Curt Beech who Art Directed Star Trek and The Social Network...
Veteran Production Designer Jim Bissell talks about judging the Best Art Direction Oscar...
A look at Daniel Day-Lewis as Lincoln...
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Apologies in advance to you if you're not a map freak like I am. I love maps (graphic designs of detailed information) so it's exciting to read about this new development and to contemplate, yet again, how a new technology will impact our lives. Wow.
A quick look at Google Maps Indoors...
From the Official Google Blog: A new frontier for Google Maps: mapping the indoors...
Add your building floor plan..
An indepth walkthrough of Google Maps...
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Here's something you don't see very often — a three-dimensional product design that feels like a logo come-to-life. These vibrant designs give each of the products a personality and identity of its own — imagine how many more of these will be sold simply because the designer had the foresight to have each show and tell its own story.
The marriage of typography and product design — Example 1...
Eric van den Boom of Boom Artwork did the design and illustration...
More of Boom's work — logos...
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I'd call Brian Biggs a renaissance man (in addition to being a skilled illustrator he is a musician, animator, cyclist, and so on) but that sounds like and awfully serious title for someone who just doesn't portray "serious" very well.
In addition to children's books, you'll find his portfolio includes plenty of advertising projects. Don't let the comedic tone distract you — these are first-class, beautifully designed illustrations created by an artist with a terrific eye for colors and shapes.
From Biggs' blog: A magazine cover from sketch to finished illustration...
The wonderful world of Brian Biggs...
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Here is some more work from Johnny Kelly and Matthew Cooper (I recently pointed you to an elaborate animation Kelly directed through Nexus Productions for Chipolte).
These examples are a reminder of how simple and effective an old-fashioned GIF animation can be. Viewing them as a whole adds another layer of interest.
An explanation of the project...
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There are plenty of theories about where interaction design is headed — the trick is to separate hyperbole from true vision. Why should you care? Because, as designer and engineer Bret Victor puts it, we shouldn't, "...just extrapolate yesterday's technology and then cram people into it."
"Technology doesn't just happen." Victor says, "It doesn't emerge spontaneously, like mold on cheese. Revolutionary technology comes out of long research, and research is performed and funded by inspired people."
He knows what he's talking about. Among his many accomplishments Victor, "...designed the initial user interface concepts for iPad, iPod Nano, and half a dozen experimental hardware platforms. Initiated, designed, and prototyped over seventy concept projects, including radically reinvented interfaces for video editing, animation, drawing, learning, collaboration, mail, photos, and much more. Invented features for Mac OS X Lion. Worked with designers and engineers from all parts of Apple. (And) Routinely presented to top-level management."
If you're anything like me you'll find his insights and predictions fascinating. Thanks to my friend Monique Larsen for pointing us to it.
A brief rant on the future of interaction design...
Victor's information graphics bio...
Thinking about user interfaces in very different ways...
Magic Ink: a revolutionary approach to UI...
Victor's website: WorryDream.com...
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A few weeks ago you and I talked about "content marketing" — the practice of producing editorial-like content to promote brands in print and online. It is a "subtle sale".
Here's an excellent example: a fascinating stop motion animation piece that not only touts the environmental, humane practices of the restaurant chain Chipolte, a second piece, on the making of the film, promotes the work of the advertising agency (Goodby, Silverstein & Partners), the production studio (Nexus Productions), and singer on the soundtrack, Willie Nelson.
You spell that s-y-n-e-r-g-y.
My recent post about content marketing...
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Chris Buzelli has the unusual distinction of illustrating in oil paint. It gives his subjects a vibrant look yet a soft sense that (I imagine) would be difficult to achieve any other way. Amazing.
Don't miss his blog at Drawger. As shown here, he sometimes shows the process of creating a piece...
A Buzelli profile from Communication Arts...
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Technology can be a little overwhelming sometimes. We're moving so fast, it's difficult to know which ideas to adopt and when to adopt them. Just when you settle on a content management system, for example, someone invents a new system that makes the one you just adopted looking kinda lame.
But it's inevitable. Hardware and software companies are like sharks, unless they keep moving forward, they drown — so they relentlessly invent and re-invent devices and tools in the hope that they'll maintain and grow their audience.
The good news is the creative options are ever expanding, the downside is it's almost a full time job separating the necessary and valuable from the gingerbread and hype. I love Adobe, in my lifetime they have played a major role in transforming my profession from a craft to a way of life.
I know it has become the industry way — but the Broadway show stuff makes me uneasy. I'm beginning to feel less like a partner and more like a member of the audience. Honestly, given the forces at work, I don't know that it is a problem that can be resolved, I just feel compelled to point to the obviousness of it.
You be the judge: Adobe's next big thing -- the creative cloud.
Adobe Chief Technology Officer Kevin Lynch's keynote presentation at MAX 2011...
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Mark Bender's bio says his work contains influences from advertising posters of the 1920's and 1930's, Folk Art, Cubism, Constructivism, and Surrealism. It's all there, interpreted with a bright palette of colors and a lyrical style.
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I not only like Michael Cho's style of illustration, I like his sometimes quirky concepts.
As an aside: I wonder if Cho sees his illustrations in the same vein as I see them. For some reason I get a sense that he sees them differently. Makes me wonder how folks perceive my work. Not sure I want to know.
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Why decorative arts? Because decorative arts, defined as the design and manufacture of functional objects, has many ties with graphic design.
The Digital Library for the Decorative Arts and Material Culture, "Collects and creates electronic resources for study and research of the decorative arts." I point you to it because I think there's value in understanding the foundation on which modern design is built.
From The Grammar of Ornament, 1910...
From One Hundred and Fifty New Designs, 1761...
From Groups of Flowers: drawn and accurately coloured after nature, 1817...
The Digital Library for the Decorative Arts and Material Culture: Image and Text Collections...
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I was surprised to find I've never pointed you to Tom White — he is a long-time favorite of mine — in my never-to-be-humble opinion, one of (if not the) top lettering illustrators working today.
I want to use the word "meticulous" to describe his work but I'm afraid you'd think there was some negative associated with it. So I'll couch it by saying his work is "good meticulous" — his creations demonstrate an attention to detail, a sense of order and balance, and a level of technical expertise that (to me) firmly ensconce him in the top tier of designers.
As you'll see, White is a master of Photoshop and Illustrator. I hope someday he'll give us a peak behind the scenes at the techniques he uses to produce his broad portfolio of work.
White's 9 Surf Studios website...
The 9 Surf Studio Facebook page...
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If you're searching for current imagery and information about the countries (and entities) of the world, the United States Central Intelligence Agency (CIA) publishes an excellent, up-to-date resource titled The World Factbook — in print and online.
In addition to photographs, maps, flags, and so on of all the current entities (267 at this writing) it includes a written snapshot on each country's history, people, government, economy, geography, communications, transportation, and military.
More good news: The World Factbook is in the public domain. That means much of it can be used without permission of the CIA — but be sure to read the copyright pages. (You cannot, for example, use the CIA seal.)
A map of the Arctic (1.6MB PDF)...
An example of some entity-specific photographs — in this case, from France...
Read this copyright information before using anything...
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Noel Weber was one of the original "Letter Heads" — a group of professional sign and lettering artists that formed back in the 1970s. Today, he and his team at the Classic Design Studio produce products — signage, identity, architectural elements, and so on — that seem to reflect a love of the creative process.
In competitive markets companies resort to all kinds of machinations to find and hold an audience. I suspect that this is the type of business the audience finds and supports without the hype.
There's something uniquely satisfying about seeing designs reproduced in physical form. I suspect as the world continues its shift to digital, these physical expressions of graphic design will become that much more popular.
The Classic Design Studios website...
Their portfolio continues on their Facebook page...
A brief bio of Weber on one of my favorite sites, Letterhead Fonts...
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There was a time when seeing was believing — those days are clearly gone. As you know, it's now possible to model, render, and animate fictional people, places, and things in ways that make them seem real.
But I lost track of how convincingly and affordably it can be done. I recently saw that my friend Chris Miller is consulting with a company called Pacificom Multimedia. As I looked through its portfolio, I was surprised how far this field has progressed. I see work here for big brands, but I also see work for projects that you wouldn't think have the budgets that renderings once cost. The marketing and design equation is ever-changing. I guess it's time we add 3D to our solution mix.
Take a tour of a Northern Power Systems wind turbine...
Here's how one of their animations is being used on the Holland America Line website...
An interactive architectural rendering...
The Pacificom Multimedia website...
And second, NewTek LightWave...
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Sporting team identity and branding is big business. Dan Simon and Studio Simon has carved out a spot in, among other niches, Minor League Baseball. The interview recounts how Simon got involved with sports team and event logo design.
A 2010 interview with Dan Simon on the Minor League Baseball website...
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Line By Line is a 12-part New York Times series on learning the basics of drawing, presented by the artist and author James McMullan. As McMullan explains it, "During the 12-week period of this column, I will be working on posters for Lincoln Center Theater as well as on a children's book, and I will share with you sketches from those processes if they seem to illuminate an aspect of drawing being discussed."
My friend Jessica Jones pointed me to the series and shared this critical insight...
"For those of us who are not artists/designers, it is actually quite comforting to see the many, many iterations that get discarded, but also disconcerting to see the nimbleness of the artist's move from one approach to several quite-different approaches.
"I've just thought about what it reminds me of: long ago, when I was doing linguistics (the course was, 'The Theory and Practice of Writing,' a terrible title for a vivid and wonderful course), I came across research on the differences between fluid writers and plodding writers (or 'good' vs 'bad' writers). And it had to do with this 'nimbleness.' Both the fluid and plodding writers will produce, say, a draft or drafts of an essay/poem/novel/article. The plodding writer will go back and tweak a word here, a phrase there, move this paragraph from here to there. But the fluid writer will step back, scrap the lot, and rewrite from scratch.
"In A. Scott Berg's wonderful biography of Max Perkins, the famous but reserved Scribners editor of Hemingway, Wolfe, Fitzgerald inter alia, Berg writes of Perkins' editorial process. Perkins would, say, receive hundreds and hundreds of pages from Wolfe, read them thoroughly, and then write to Wolf something like, 'There's a character who emerges in Chapter 2. I suspect that this character is the real voice of your book.' And Wolfe would dash off and rewrite, to much better effect, the whole caboodle. So the 'fluid' writers don't tweak; they rework, rethink, take a different approach.
"I am better at this 'reworking' with my own (infrequent) writing, but in my wee forays into design,' I know I am definitely a plodding tweaker. I don't do what a journalist teacher once said: 'Don't agonize over your lead paragraph; write SEVEN different lead paragraphs, and go with the one that most energizes you.'"
Someone who understands the processes that well cannot, in my opinion, claim status as a "non-artist/designer." Jessica points to one of the most critical talents a designer can possess — the ability to explore at will. A good designer (or writer) develops an ability to dig into a topic deep enough to find the treasure but no so deep that they can't climb back out of the hole.
The first in the series: Getting Back to the Phantom Skill...
James McMullan's Line By Line — all twelve parts...
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The illustration/design team of Elsa Chaves and Tyler Lang are fast becoming icon icons. Their studio, Always With Honor, counts among its clients The New York Times, TED, Toyota, Audubon, and others. They have a gift for condensing ideas into descriptive, hard-edged shapes.
Icons for TED Conversations...
Icons for F8 — in the form of a world map...
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I'm a lover of signage so when I came across Dan Sawatzky's Imagination Corporation I was truly enthralled.
Sawatzky and his crew use their creative skills, craftsmanship, and engineering expertise to produce signs and environments. They design, sculpt, build, and paint -- plus they are experts at using CNC routers (a computer numerical controlled cutting tool) to produce some of their work from CAD/CAM drawings.
There's just enough here to get you exploring — and lots more to see beyond that.
And the Imagination Corporation website...
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Michael Newhouse is a former keypunch operator who has done work for neurosurgeons. That information is true, but the way it is presented gives you a curious slant on the real story. (This is his real bio.)
In graphic design it's all about how you say (and show) a thing. Newhouse is, among other things, an accomplished information architect — an expert as explaining ideas with words and images. I especially like the fact that his work is client-specific — by that I mean he varies the look and feel of each piece rather than shoehorning everything into one specific style.
And his feelings on logo design services...
And the Newhouse Books blog on Tumblr...
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Lenticular printing is the process of reproducing two or more images on a single surface to create the illusion of 3D. As you view the surface from slightly different angles, the images change.
I've certainly seen them before but hadn't considered designing a job using one. From what I read, the cost of production is less expensive than it once was. I'm you pointing to these resources with the thought that you might want to add the idea to your toolbox.
The effects as explained on Big3D.com...
A good overview of the process on Wikipedia...
Simplest Method of Making Anaglyph Images with Photoshop...
Choosing the Right Lenticular Sheet for DIY Lenticular Printing on Inkjet Printers...
Converting a 2D picture to a 3D Lenticular Print - Theory and Tutorial...
The ViCGI (Visual Creative Graphics Innovations) website...
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I guess the reason I find ephemera so fascinating is that it freezes ideas in time. Advertisements, specimen sheets, instruction guides, product labels, and other forms of printed matter that were never meant to outlive their immediate purpose, provide a snapshot of the producer's intent and reveal a designer's approach to solving a problem.
Below is a brief tour of a new book the folks at publisher Thames & Hudson sent along: Scripts: Elegant Lettering from Design's Golden Age. It's a collection of elegant and eccentric examples of script lettering — French, British, German, Italian, and American — compiled over a thirty year period by authors Louise Fili and Steven Heller.
If you know the work of Fili and Heller, you might expect they'd have amassed a rather substantial collection of ephemera over the years. Heller, a former art director for the New York Times and well-known lecturer on the history of graphic design, has authored over 100 books on design and popular culture. Louise Fili, formerly a designer for Herb Lubalin and art director for Pantheon Books, has authored another twenty titles, many of them in collaboration with Heller (they are husband and wife).
Fili is among my favorite designers. If you have no idea why you'd want a book of this type, take a look at her portfolio of work. Though she offers a fresh and modern approach, you can't help but see the influences of 19th and early 20th century graphic design and typography.
Discovering, digesting, and deconstructing the work of others — finding the essence of how disparate elements are arranged in order — is part of the design mind's blessing/curse. Whether it's a conscious effort or gut-level assimilation, you can't help but absorb the layouts, typefaces, colors, and imagery that pass through your vision each day and mentally store them away. The beauty of this book is that it captures some of the best of what these two experienced designers have found and distills it in a form we can easily access.
The book is virtually all images — there are brief introductions to each section and footnotes, but just enough to supply the necessary orientation. The wonderful cover design was created by Louise Fili and John Passafiume. (I'm told that another favorite of mine, Jessica Hische, worked on the early stages of the interior design.)
I have hundreds of design books on the shelves around me. And, though I love digital, I love print too. I get some indescribable sense of satisfaction knowing that the thoughts of so many good designers and tens of thousands of their designs are by my side.
Scripts: Elegant Lettering from Design's Golden Age by Louise Fili and Steven Heller, ISBN 0500515689, 352 pages, published by Thames & Hudson, 2011
Some links...
Thames & Hudson, the publisher...
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As the story goes, Adobe was founded in 1982 and named for the Adobe Creek that ran behind John Warnock's house in Los Altos, California. Who could have predicted what Adobe would become — the company that started as the home of the PostScript page description language, ended up precipitating the desktop publishing revolution and today has 9000-plus employees and revenues of $3.8 billion.
But the magic, to me, is what Adobe has done for my profession. It has helped to grow seemingly creative disciplines -- graphic design, photo editing, illustration, animation, and so on -- into scientific collaborations and pursuits of the highest order.
Adobe invests 20% of its revenues in research and development. But, as they explain it, "The company's commitment to innovation... goes far beyond dollars spent. With a wide range of initiatives that provide resources, tools, and support to stimulate innovative practices at every level of the company's activities, Adobe has ensured that innovation remains an essential element of its long-term strategy."
For a guy who once used a T-square and press type, the stuff going on in places like the Adobe Advance Technology Labs is science fiction made real.
Cosaliency and image triage...
Articulated puppet building...
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I was struck, in particular, by the first image I'll point you to — I love the movement and vibrancy of it. Not surprisingly, it was recently awarded American Illustration's silver award in the editorial illustration category.
Example 1 (click the image to see it full-size)...
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If you're a writer, designer, illustrator, photographer, editor, developer, or marketer, the obvious answer is yes. The proof is in the many new studios popping up to specialize in the development of content for the new generation of phones and tablets.
Electric Type, for example, bills itself as a digital book foundry. Here, they provide us with a taste of how some of the aforementioned players have collaborated to reinvent a storybook.
A video tour of their first project: The Jungle Book...
Illustrator Nigel Buchanan's portfolio...
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In his short career (he's only 30) Alex Varanese has demonstrated a talent for illustration, design, typography, and 3D modeling. In an interview I link to below, he speaks of the influence of video games and computer science — both of which are obvious in his work.
An interview with Smartpress.com...
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SeventhStreet bills itself as a retouching and design shop. That's kind of like calling Pixar an animation studio — accurate but modest. These folks, under creative director Mike Campau, do amazing things with tools such as Photoshop, Poser, and other 3d and CG rendering programs.
Look and you'll find many examples of finished images and details about the many images that were used in their making.
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I'm just back from the aforementioned conference and I thought I'd sit down and share some impressions. My hope is that, if you don't normally attend these events (I don't either), that you might be interested in the goings-on...
First impression: It's a global thing.
Roughly 400 folks attended the conference from 33 states and 11 countries — I believe it was a sell-out. I heard mention of Australia, Hong Kong, Serbia, Belgium, United Kingdom, Guatemala, and others. I know that kind of diverse participation is no great revelation to people who move in design and software circles frequently, but to someone who doesn't, I am particularly aware of the privilege it is to be a part of this type of international event.
It's a community.
Equally as interesting is the sense of community I felt. Designers, geeks, authors, and designer-geek-authors have much in common. Many of us are most comfortable in designing our world and staying within its bounds — so it's particularly exciting to be with other folks who spend so much of their lives on the same layer. I love my wife, but she couldn't care less about which device and software I use to calibrate my HP ZR30w monitor (thank goodness). Occasionally, it's a good idea to sit with people whose brains are trying to solve similar problems and attain similar outcomes.
There is no single voice.
For some reason I had the expectation that I would hear one side of things. Yes, that sounds silly in hindsight, but that's what I was thinking. The reality of it reminds me that there are as many workflows, approaches, and opinions about design and production as there are people doing it. For example, I sat in a session with the InDesign development team who all seemed to think that it should be the printer's responsibility to produce final production PDFs from native InDesign files. That was followed by the "Long Live Ink" roundtable with Design Tools Monthly editor Jay Nelson and prepress troubleshooter and Adobe Certified Instructor James Wamser both of whom seemed to think the opposite — that most jobs are best prepared for printing by the user (using the printer's guidelines).
E-publishing is in its big-bang stage.
There are MANY ways to create and view e-publications and MANY devices and platforms on which to view them. That's about all anyone agrees on. Which software and software settings to use (including InDesign's EPUB export) will be dictated by the device you're preparing your publication for, the complexity of the document, the intended distribution channel, and so on. As conference organizer David Blatner pointed out, you can't, for example, produce PDFs to sell through Apple — not because you can't produce them, not because the iPad can't read them, but because Apple doesn't yet allow you to distribute them through iBooks.
There are also significant design considerations to be tackled. When you convert page layouts for different devices and orientations, you'll need to design different layouts for each setting or create simplified, "elastic" layouts that adapt to multiple uses. I heard someone refer to that conversion as changing your layout into a Microsoft Word document.
Software developers and designers alike are in the very early stages of figuring out how to recast information in ways that are compatible with the new devices yet as aesthetically pleasing as print and conventional web page design. I think even the folks at Adobe would agree that (for now), that InDesign's EPUB export is not for creating e-versions of complex layouts.
Chris Kitchener, Senior Product Manager for Adobe InDesign, "Meet my extended family," 2011 InDesignSecretsLive Print and ePublishing Conference (doctored image)
The best early tools are expensive.
It's not surprising that the tools that allow the most control over page layout and effects are being developed for the upper echelon of the publishing trade. James Fritz, another respected author and trainer, discussed some of the many platforms used to create digital versions of magazines — Adobe Digital Publishing Suite, WoodWing's Digital Magazine Tools, Mag+, and others — and the fact that the new pricing models require both upfront fees (most in the thousands of dollars) for the initial content management systems and ongoing monthly or per-piece publication fees. (The good news is that by the time you read this [a couple of hours after I write it] everything will have changed.)
Much of what I learned was from the audience.
I went because of the featured speakers but I learned lots from the audience too. Questions, suggestions, and comments from audience members were every bit a useful as those from the assembled experts. For example, in one session, Eddy Hagen, the managing director of VIGC in Belgium offered some excellent insights on the production of PDFs and pointed us to his own Flemish Innovation Centre for Graphical Communication and the Ghent PDF Workgroup. There we're lots of high-powered users and experts in the audience.
Technology is a moving target.
No revelation here, but it is impressive when a presenter changes her slides in the hours just preceding her presentation because of some new tidbit of information. From his view inside Adobe, the Lead Product Manager for Adobe InDesign, Chris Kitchener, explained the perplexing process of gathering suggestions for new features, fixing bugs, and working with engineers to update a program as complex as InDesign. It's easy to forget the divergent pressures applied by users, reviewers, stockholders, partners, marketers, and so on to influence the decisions about which features or fixes to produce when and why.
BTW, the Adobe team was particularly impressed by and thankful for this blog post which explains that InDesign is a database and why, for example, files are not backward compatible.
There is a modicum of tension between Adobe and its community.
One of the most intriguing revelations of the experience was the respectful tension there is between the product producers and their users. All of it was friendly and in good humor, but it's obviously, a real issue. Adobe wants everyone to like its products and users are great at pointing to flaws. None less than Michael Ninness, now the VP of Content for Lynda.com, formally the Senior Product Manager for InDesign, rose to ask the current Senior Product Manager when certain features (such as charting) would be added to InDesign. It was all good-natured (especially when Ninness pointed out that he, himself, hadn't added the feature when he could have), it is a complicated dance.
There are few better venues for meeting the people you want to meet.
I had the pleasure of meeting, face-to-face, some of the many people I communicate with online and introducing myself to others I would not have otherwise had the opportunity to meet.
First and foremost I got to meet and speak with one of the conference organizers, David Blatner. My only complaint about the entire conference is we didn't hear more from David. He is a smart, personable guy who knew as much or more about InDesign (from a user standpoint) as anyone in attendance.
If you don't know Blatner, he's the editorial director of InDesign Magazine, wrote Real World InDesign (and 14 other books), teaches courses on InDesign at Lynda.com, and co-hosts InDesignSecrets.com with Anne-Marie Concepción.
Their combined experience with InDesign, the InDesign community, and Adobe corporate made David and Anne-Marie uniquely qualified to pull together this wide and deep gathering of designers, technicians, and developers.
If you don't know Anne-Marie Concepción, she too teaches courses on InDesign at Lynda.com, does the InDesignSecrets.com thing, plus rules her own creative empire at Seneca Design & Training.
This was also an opportunity to sit with Jay Nelson and Lesa Snider. Jay is the affable publisher of Design Tools Monthly, the only industry publication I read cover to cover, every issue. It was a real treat to spend some time comparing notes with someone else who is as interested as I am in finding and sharing the the best of design and publishing ideas. Lesa is a writer for Macworld, author of numerous books, chief evangelist for iStockphoto.com, and host of graphicreporter.com
I also had the good fortune to have one-to-one discussions with conference speakers Gabriel Powell, InDesign and Photoshop author and Senior Solutions for Typifi Systems, Ron Bilodeau, the Production and Design Specialist at O'Rielly (who once worked for the beautifully designed Cooks Illustrated), Chris Kitchener, Lead Product Manager of Adobe InDesign, Nigel French, the author of InDesign Type (who spoke about designing with a grid), and Cari Jansen, a technical writer and print and publishing consultant who spoke about the challenges of this new medium.
And I gathered some great insights from Keith Gilbert, a brilliant tech- and design-savvy guy who spoke about XML and data publishing and who showed me an impressive project he had just finished. It's a beautifully designed iPad-based catalog/brochure his client's sales force will use at an upcoming trade show.
All that and, of course, all of the good stuff I learned (I just downloaded a 344-page PDF of conference slides that Anne-Marie Concepción made available to those who attended.)
Finally, most happily, I got to meet a few folks who subscribe to my newsletter at ideabook.com and who read my blog at PagePlane.com. Thank you all for introducing yourselves. (If I didn't get your business card please send me an email so we can stay in touch.)
So... where's the 2012 conference?
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I rarely point you back to the same place — once you've seen it I assume you'll look again if you're interested. But in case you missed it, Kelli Anderson has, again, demonstrated her passion for different.
An invitation in the form of a paper record player...
Her description of the project...
My original post about Anderson: This is why I want to be a designer...
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I happened on this logo/icon and had to show it to you. It has at least three things going for it:
1. Skillful rendering
2. An interesting metaphor
3. A unique color scheme
Difficult to do it better.
A closeup without the ray burst...
More icons (and other design work) by MadeBySofa and designer Jasper Hauser...
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If you need pure inspiration, print advertisements are hard to beat — each one reveals a different architecture for drawing a reader in and communicating a message through an abbreviated set of words and imagery.
If you learn to distill and combine and deconstruct those ideas, you'll have an endless stream of ways to kick-start your thinking. How do you create something new a fresh? Get a sense of what's already been done.
Here are some good sources to track.
For deep international coverage, Ads of the World...
Lürzer's Most seen ads this week...
For some history: Duke University's 30,000-plus advertisement collection...
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Wow. There really isn't much that can't be programmed these days. A post on the New York Times' Bits blog pointed me to the McWorld — home of a game and story portal for kids.
It really is an impressive production. Lots of colorful, interesting illustrations, innovative interfaces, and, one thing I have not seen (or heard) before, audio rollovers (you roll over a button and a voice tells you what the button does).
My only (long standing) complaint has to do with the fact that Flash is used which means I can't point you to individual pages.
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Here's a recent, graceful adaptation of GIF animation produced in a collaboration between photographer Jami Beck and designer Kevin Burg. They take still images and add subtle movement in a discreet area of the image. The result is a still image with isolated movement — a very nice effect. (Be sure you wait for them to load fully so you don't miss the effect.)
Thanks to Daniel Will-Harris for pointing us to it.
Photographer Jamie Beck's blog...
Designer Kevin Burg's portfolio...
A brief interview with Beck and Burg on Turnstyle...
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Travis Coburn pegs his style as inspired by 1940s comic book art, the Russian avant-garde movement and printed materials from the 1950s and 60s. His gritty technique and unusual subjects are well worth a look.
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It's easy to lose track of that simple fact but Keetra Dean Dixon, kindly, reminds us of it. She got me asking myself when I last designed something, primarily, for the purpose of expressing myself — its been a while.
Dixon is as much an artist as she is a designer. I'll point you here, to some examples of here work that include typography but be sure to explore her whole portfolio of work.
Dixon's website: FromKeetra.com...
A profile of Dixon from the Designing Minds series...
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Fifty and Fifty an fascinating project curated by designer Dan Cassaro. It offers a "...new way of looking at our country. Fifty designers, one per state, will illustrate their state motto, creating something steeped in history but completely modern and unique: a kind of designer's atlas."
I have two reasons for pointing you to it. First, the illustrations/designs are excellent, and second, Cassaro's choice of designers is out of the ordinary. He has tapped the talents of several designers I was not yet familiar with and that are well worth knowing.
Three of my favorites. First, Meg Hunt's Connecticut: He who transplanted sustains...
Second, Josh Brill's Maine: I lead...
Third, Micah Smith's Louisiana: Union, justice, confidence...
And the list of the contributors...
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When I saw these, I thought you'd want to add David Vogin's name to your list of illustrators. I really like his beautifully crafted photo collages.
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If you have never visited an illustrator's studio, you should try finagling your way into a few. Many illustrators (and designers) surround themselves with interesting art, props from projects, and collections of objects.
For example, when Bill Nelson lived nearby he always had a fascinating collection of posters, sculptures, and illustrations in progress displayed in a way that reflected his style. (Imaging kicking around his basement and coming across one of these guys.)
Here are a few examples that I recently came across on Drawger.com.
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You can tell Kyle Webster is a fan of graphic novels — most of his illustrations have that type of story quality. He has perfected a number a styles and often shows his subjects from unusual angles and points of view. Oh, and did I mention he is the Original Design Gangsta?
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The reason I am pointing you to James Geary's TED Talk on the subject of metaphors is because it reminds me of how important it is that our designs don't simply replay the same old, tired messages. (As I was writing this, my first thought was to use the phrase, "break new ground" — it doesn't get much worse than that.)
Geary mentions a George Orwell essay in which he offers six rules for improving the writer's use of the English language including: "Never use a metaphor, simile, or other figure of speech which you are used to seeing in print."
That's quite a challenge. Doubt me? Try writing a few paragraphs without a "well worn" metaphor. Imagine too if we, as designers, were to rewrite that rule in graphic designese — something like, "Never use a marketing approach, page layout, or color scheme which you are used to seeing in print."
James Geary, Metaphorically Speaking...
George Orwell's 1946 essay, "Politics and the English Language"...
Geary's 7 Strange Places to Meet a Metaphor...
Roger von Oech breaks my tired, old lightbulb...
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In times when just about anything can be simulated digitally, I think the work by Flemish designers from Coming Soon offers examples of the very different look and feel you can achieve by melding the physical with the digital. It produces a result that is achievable no other way — one that will have your audience asking, "How did they do THAT?"
Campaign image for the city of Ghent, Belgium...
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Kickstarter is a web platform for funding creative projects. You articulate and propose your idea — investors buy in... or don't.
Thanks to my son Jeff for pointing me to a new project proposal from Frank Chimero (a designer I've pointed you to in the past). Within just two days, funding of his project is almost twice what he was asking. Interesting project, interesting platform.
Frank Chimero's The Shape of Design...
More projects from the design category...
My previous post about Frank Chimero's work...
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Before I can design something — a website, a logo, a brochure, whatever — I've got to understand what needs to happen. What my client's purpose and motive is, and the action they want their audience to take.
Once I understand what I am being asked to accomplish, I can design with purpose. I'm not a decorator, I'm a designer — my job is to determine the combination of elements — the images, typefaces, and user interface — necessary to communicate messages in a way that makes them interesting and accessible.
Teaching that process is what John McWade is so expert at. Through the pages of Before & After Magazine, he has been teaching what others don't, in ways that others can't, since the days when the first version of Aldus PageMaker was in beta testing. He parses, deconstructs, and studies a design problem, then packages a solution in a form that is easy to understand, digest, and reproduce.
I've written for B&A and I can testify that there's nothing easy about making things simple. I have pointed you to John in the past, but there is some new news worth sharing: John McWade has begun a series of wonderful short stories about design — video snippets that once again have me thinking about what is possible.
One in the series, How to design without graphics...
The beginnings of the new collection...
Plus, for the first time, the entire Before & After collection goes digital...
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Once again I apologize in advance for sending you somewhere you will undoubtedly spend a good deal of time exploring. I can almost hear you say, "I don't have time Chuck!" Well, can't help but think, the Society of Illustrator's archive of presentations by talents as diverse as Seymour Chwast, Nate Williams, and Gary Baseman will be of interest to anyone even remotely interested in graphic design.
Enjoy!
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When I point you to an artist (Wagenbreth rejects the label "illustrator"), I typically show you a few examples of their work that I particularly like. But, in this case, I think half the fun of looking through Wagenbreth's portfolio is how you access it — there are over 100 images and word pictures on the home page, each of which leads to a piece of his work. (Even some the tiniest letters lead to separate images.)
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David McCandless hates pie charts — loves pie, but hates the charts. That gives you a bit of an indication of how passionate the author and designer is about the analysis and display of information.
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I love simple scratchboard illustrations — used properly, they stand up in both classic and contemporary layouts: the Harvard Business Review to Sports Illustrated. Keith Witmer is good at what he does. Watch how deftly he chooses what to include and (equally importantly) what he chooses to exclude.
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Illustrator Bryan Green uses what might appear to be a somewhat frivolous or purely artistic medium — papercraft — as tool for marketing. He creates cut-and-fold objects and characters that his clients distribute to promote products such as books, games, software, and so on.
I like the idea and I'm going to recommend it to a couple of my clients. Used in the proper situations, I think it could be an effective way to stir the marketing pot.
Bryan Green's Paper Foldables...
An example of how one client is using Paper Foldables...
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You would think that the famous Twitter bird is Twitter's logo — it isn't. Truth-be-told, Illustrator Simon Oxley sold the bird to them via iStockPhoto for less than $20.
The catch is, iStockphoto's license prohibits the use of any licensed images for "Use in any logo or trademark". In a Washington Post article from 2009, Oxley explains, "Twitter has used my bird image as a decorative element on their site — it is not officially the logo, and they do not sell products carrying the image, so they are totally free to carry on using it."
It's an interesting story (and lesson).
The original Twitter blue bird...
The article from the Washington Post...
Simonox's complete portfolio on iStockphoto (as of today, jsut over 5000 images...
Is there a blue bird in your future? Here's how iStockphoto's system works...
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Last year I pointed you to Chris Whetzel's comic book-like illustrations — they are bold, brash, and powerful. I want to point aspiring illustrators (and the curious), back to his blog — provides excellent insight into the development process.
A recent article about a new series of illustrations...
His blog details many more process examples...
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The Google Chrome team is offering up "big picture" story of the web in 2010. Both the content and the execution are worth a look. I particularly like the subtle but easily understood controls.
20 Things I Learned About Browsers and the Web...
The illustrator is Christoph Niemann...
The site was designed by Fi (Fantasy Interactive)...
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I'm going to speculate that Dave Smith is one of the most talented, skilled sign artists of our time — I doubt anyone will object. He cuts, etches, paints, and gilds glass in ways that will amaze you.
A film about signwriter David Adrian Smith...
Another fascinating step-by-step illustration..
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The Washington, D.C. arm of 826 National — nonprofit tutoring, writing, and publishing organization — recently opened a storefront similar to The Brooklyn Superhero Supply Company we discussed a while back.
I, primarily, want to point you to the identity and items designed for The Museum of Unnatural History by Oliver Munday.
The Museum of Unnatural History...
In case you missed it: The Brooklyn Superhero Supply Company...
826 National and an overview of the new project...
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Watch how Yehrin Tong uses her talents to construct elaborate, "eye-boggling" patterns and visual puzzles with meaning. As her site explains, "Simple and minimal rarely come into her vocabulary."
Tong's profile from Theme Magazine (765KB PDF)...
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I like the way the Francesco Franchi the Art Director of IL, Intelligence in Lifestyle magazine uses illustrations, information graphics, symbols and so on, to create, not only a unique visual style, but a rather interesting infrastructure for presenting ideas.
The magazine is filled with inform...
I like the way the designer fits all of the cover information into one module...
A collection of the designer's work...
Francesco Franchi's Twitter feed...
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This is what happens to you when you spent your summer vacation on the floor of your grandmother's newsstand reading comics and eating candy (or so he says).
Let that be a lesson to you.
Pretty good day for dog. Pretty good day for illustrator...
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He is another one of those illustrators who works hard to be talented. On his blog, he shows pictures of ephemera such as Japanese match labels and crows about finds such as a 60s-looking tooled leather wallet from a second hand store. I particularly like how uses those inspirations and ideas to add a sense of craft to his illustrations.
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Here's something for entrepreneurial photographers, illustrators, and designers to think about. Photodeck offers a full blown e-commerce platform (for a modest monthly subscription) that allows you to display, license (in a variety of ways), and sell images.
I like the fact that it moves control of the work back into the realm of its producer. I can't see why the same idea wouldn't apply to illustration and design work as well.
I like the convenience and variety the big conglomerates offer, but I also like the personalization and access afforded by sites that are handled by the people who do the work. I hope, as technology packages such as this become more widely available, that we'll see a better mix of both.
PhotoDeck is a fully customizable, brandable e-commerce platform for photographers...
I found PhotoDeck through a photographer who uses it Toasto.com...
Another implementation of PhotoDeck — KennedyStock.com...
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Watch how deftly caricaturist Stanley Chow captures the essence of a personality. I particularly like the symmetry of his illustrations and how he occasionally, subtly breaks that paradigm.
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With Marc Burckhardt, the line blurs between illustrator and artist. The crackle surface is explained in a 2004 3x3Magazine article which reveals, "He applies a Raku glaze, then immerses the painting into a blazing trash can full of smoking eucalyptus leaves, pecans, and newspaper. The heat causes the glaze to crack and the smoke penetrates the cracks."
Interesting post from his Drawger blog about the creation of a Texas Monthly cover...
The 3x3Magazine article (1.3MB PDF)...
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Earlier in the year I created a list of current desktop publishing software, here is the same type of list--this time for illustration software. As with the DTP software list, if I have missed something, please comment here and I'll add it.
And again, a note to the purists: Don't freak on me--this is merely a reference list, I'm not making any judgement of quality or suitability for any purpose.
My desktop publishing software list from earlier in the year...
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She creates stitched illustrations (using needle and thread) for commercial clients. Nice.
Example 1 (click images for a closeup)...
The front door to her web site...
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The term "tradigital" art refers to art that is created by combining traditional and digital media. Jim Leggitt's presentation (below) shows you how he employs conventional drawing techniques to produce textured, warm, and visually interesting architectural drawings using digital renderings from, in the case of this class, the SketchUp 3D program.
I show this to you because it provides two important reminders for the graphic designer. First, is that we should continually try to find ways to humanize our work. The more we use digital tools, the more we need to sketch and visualize and brainstorm. The world is not a perfect place and making everything pixel-perfect is not believable.
And second, as a practical matter, it is often preferable to present a client with a sketch-like idea versus a nailed-down solution. A sketch allows you the freedom to refine the solution as you get into the detail of it.
Jim Leggitt on Traditional Imaging...
Tradigital imaging allows you to turn a finished image into a work in progress...
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This is SO cool. If you're interested in iPhone or iPad development, you know that the graphic user interface (GUI) for the devices is both deceptively simple and beautifully designed.
This is the cool part: Teehan+Lax, a design company in Toronto, Canada, has gone to the expense and trouble of reproducing both interfaces in Photoshop and have made the PSD files available to you and I so that we don't have to re-invent them.
Even if you have no plans to develop for these popular platforms--if you are a Photoshop devotee--you should download and parse these files just to see how they are constructed and organized. They're downright elegant.
Thank you Teehan+Lan for a lesson in Photoshop, GUI development, and kindness.
The latest version of the iPhone GUI as a Photoshop PSD...
The iPhone GUI PSD file (7.9MB)...
The latest version of the iPad GUI as a Photoshop PSD...
The iPad GUI PSD file (24MB)...
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Brazilian Eduardo Recife has an affinity for vintage imagery and a talent for digital collage.
Eduardo Recife's commercial site...
Eduardo Recife's personal site misprintedtype.com...
Typefaces created by Recife...
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Polly Becker creates illustrations using objects and images that she refers to as "assemblages". She has an impressive list of clients including Rolling Stone, The New Yorker, and GQ.
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I had the good fortune to meet Daniel Pelavin years ago when I was working on a book. As you will see by the video clip, he has a passion for his craft, a self-effacing attitude, and wonderful talent for cooking ideas down to shape and color.
An example of his illustration skills...
In this recent interview he reveals his passion for the design craft...
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Don't you love these illustrations? Miyuki Sakai uses a sewing machine to craft these unusual, organic-like images. In a new series for Martha Stewart Living the effect is multiplied by juxtaposing actual prepared food with the illustrated plates. They are, to me, fascinating to look at.
Kudos too to Design Director James Dunlinson and photographer Johnny Miller.
The illustrations for the June 2010 issue of Martha Stewart Living...
A closer look at another illustration...
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Two recent finds from France. First, a store that sells vintage-looking designs imprinted on pillows, bags, and such. I point you to it as much for the design of the site as the design of the products. I particularly like the combination of typefaces and sizes the designer uses.
Second is a collection of 20,000-plus vintage advertising and design pieces being archived by a French woman who goes by Pillpat, Patricia, and pita ou franck--it is a real service to the world community of graphic designers.
Pillpat's wonderful collection of ephemera...
An earlier post on Graphic design and ephemera...
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My friend Daniel Will-Harris was kind enough to give us a heads-up about this unique offer from French Paper. What they are offering is the free use of a host of black and white images from CSA Images when the project they are used for is printed on French Paper. You'll need to read the small print but it looks like a pretty interesting offer.
The occasion of this offer also gives me an excuse to point you back to CSA's substantial body of work. I first wrote about Charles S. Anderson and the CSA Archive Company in Clip Art Crazy a book I wrote for PeachPit Press back in 1995. Even then, Anderson had compiled close to 1,000,000 twentieth-century line art images that were being used on prominent projects such as the Turner Classic Movie Channel and for licensed products for Paramount Pictures.
The beat goes on. Listed below, for example, you will find a gallery of book cover designs created in recent years using CSA Images.
The offer from French Paper...
Another collection and purchase option...
A gallery of book cover designs created using CSA Images...
The French Paper Sampler Room...
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Asif R. Naqvi's site design reminds me of the fine filigree work a seventeenth century jeweler might produce. I picked out a few parts and pieces of his site to highlight. I particularly like the giant, intricate nameplate collage on the home page.
A scaled down version of the nameplate used on second-level pages...
Example 1 of supporting images...
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I'm fascinated by circular graphic patterns El Mac uses to build his illustrations. Kind of like some type of organic Photoshop filter.
A detail from a large mural...
You see the obvious influence of Alphonse Mucha who El Mac refers to as an influence...
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When I look a John Hendrix's illustrations I get a sense I am close to seeing his thoughts. Where some illustrators package ideas—Hendrix seems to shout them out loud.
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Bryan Christie produces masterful "explanatory" illustrations. He does it by manipulating color and transparency, through the construction of cutaways and proportional scales, and through a myriad of other visual devices such as dropping an element into an illustration for the purpose of clarification. The enormous size of an ocean oil rig, for example, is instantly understood when you put a ship in the water next to it.
A pretty amazing body of work here for someone who appears to be fairly young.
An interview with Bryan Christie...
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I don't know Raymond Biesinger but he appears to have that rare talent for right-brain/left-brain—fiction/fact thing. Interesting expressions of interesting ideas.
Biesinger's blog, The Daily Sentry (looks as if he's on a bit of a sabbatical at the moment)...
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Clay Hayes' GigPosters.com features posters used to advertise music shows and events. As you might imagine, the subject matter allows the designers and artists great creative freedom—so you're going to see some exciting and interesting uses of type, color, and illustration. (The examples I link to are tame, but I'll caution you that if you wander around, there's also material some might find offensive.)
Example 1 by Gwenola Carrere...
Example 3 by Matthew Fleming...
The GigPosters Twitter page...
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The first issue of Popular Science magazine appeared just seven years after the close of the Civil War. This month it began offering (in partnership with Google) its entire 137-year archive for free browsing. Each issue appears just as it did at its original time of publication, complete with period advertisements. Amazing.
How the new Popular Science is printed, for example, is detailed in the October 1938 issue. It explains, "At the huge Dayton, Ohio, plant where POPULAR SCIENCE is printed, a workman, the other day, pressed an electric button and this record-breaking machine whirled into action." Then it goes on to show and tell one of its signature stories—filled with informative photographs and illustrations.
Thanks to Jim Green for passing this on—great find.
October 1938, page 74, How the new POPULAR SCIENCE is printed...
March 1984, page 99, Introducing the 32-bit Apple Macintosh...
August 1950, page 93, Typewriter with a memory "sets type" on photo film...
March 1963, page 35, Commercial art talent hunt open to you...
May 1872, page P5, Issue number one...
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As every graphic designer knows, you are not free to simply add an illustration or photograph to a brochure or web site without first knowing who owns it and what rights they have to it. Some images are copyrighted—which means the owner dictates how it can be used. Others are copyright-free or their copyrights have expired (generally referred to as being in the public domain)—which means (in most cases) you are free to use it without permission.
The good news is there are millions of public domain images available for use&mdashthe bad news is it isn't always easy to distinguish what is protected and what isn't.
All that said, I have compiled a few pages that point to the issues and one that will get you started finding what you're looking for.
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I really like these blueprint-like illustrations created by Paul Kepple and Scotty Reifsnyder at Headcase Design. You may have seen them in books published by, among others, Quirk Books.
The weird world of Quirk Books...
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I really like Nik's wonderful information-rich illustrations. Work from his studio, L-Dopa Design + Illustration, has appeared in an impressive lineup of publications including Popular Science, Make, and Wired.
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When, what to my wondering eyes should appear, But a miniature sleigh, and deer drinking beer. BibliOdyssey is... whatever you want it to be.
Het Feest van Koning Beer (The Feast of King Beer)--A deer drinking beer ...
A collection of Nuclear Reactor Wall Charts...
An interview with BibliOdyssey curator, Paul K...
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Here is some great insight into icon design from someone who knows a fair amount about it. Before starting his sole proprietorship, Felix Sockwell was the Design Director and co-founder of the Ogilvy, The Brand Integration Group—not bad credentials. As you will see, he has an amazing talent for condensing ideas into icons and illustrations. Be sure to see his portfolio, it is wide and deep.
Sockwell's show and tell about the development of icons for Real Simple magazine ...
Another project for The International Herald Tribune...
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Eric Baker started out spending 30 minutes each morning finding and sending odd and interesting images to a friend online—a good idea soon draws a crowd. If you need an occasional creative nudge, check out Eric Baker's Today, it just may do the trick.
Baker's first post from October 2008—Today on designobserver.com...
Baker is one of the principals at The O Group. Their portfolio...
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In December The New York Times published this diagram under the Opinion banner. Nice organizational idea.
Phillip Niemeyer's Picturing the Past 10 Years...
Phillip Niemeyer and Dana McClure head the Double Triple art and design studio...
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YouWorkForThem.com is a shop founded by two talented designers--Michael Paul Young and Michael Cina. Their eclectic collection is certainly worth adding to your list of resources.
Example 1: Stock Images > Oils & Ink...
Example 2: Stock Vectors > Flowers...
Web of founder Michael Paul Young...
Web of founder Michael Cina...
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What first drew me to Nigel Buchanan's illustrations was how adeptly he tells a story. They are, at once, striking, unusual, and technically interesting.
But he really got me wondering about the tools he uses to create his illustrations--it looks like he uses an old-fashioned mechanical airbrush but they also have a distinctive digital quality about them. So I asked.
He tells me he primarily uses Adobe Photoshop--at times creating images with as many as 100 layers. If the illustration includes elements such as typography or mechanical-looking items he might also incorporate Adobe Illustrator. "I used an (mechanical) airbrush years ago," Buchanan says, "and the computer technique I use now employs the same principles; paths as masks and a pressure sensitive stylus."
But here's the takeaway for young illustrators: his emphasis is on creating a clear concept and a beautiful drawing to work from. "It is too easy to rely on computer programs (and filters or trace tools) to make an illustration look acceptable. What many illustrators forget is that it's the strength of the image and the idea behind it that makes an illustration successful."
Well said.
An interview with the artist...
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It is sometimes referred to as 2.5D animation, sometimes as pseudo-3D, this technique involves creating a series of 2D images separated into layers and animating them simulating film moves such as trucking and zooming. It can be elaborate or simple but either way it's eye-catching.
Thanks to Twitter friends Joel Wires, Paul Casper, PJ Cassel, Jean-Claude Tremblay, Filmjr, Harold Thompson, Jesse Gardner, Ken Fisher, and others for helping me research this...
Example 2: Jesse Gardner points us to the VISA "Trip for Life" TV Spot...
Example 3: Ken Fisher points us to a very cool variation using CSS...
Example 4: The opening from the Showtime's United States of Tara...
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Kevin Kelly's illustrations caught my eye. I like them, they feel new and different and are obviously well-crafted.
Kelly's site, Pixel Pusher Design...
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Copywriter Jessica Hagy explains ThisIsIndexed.com as "...A little project that lets me make fun of some things and sense of others. I use it to think a little more relationally without resorting to doing actual math."
Her big collection of little diagrams is well worth a look.
Explanation of a Venn diagram (relations between groups)...
An interview with the author and copywriter Jessica Hagy...
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At one time or another Bill Nelson's rich, beautifully detailed color pencil illustrations have appeared on the pages of most of the major publications I can think of. But they are by no means the whole story. Bill also has a passion for 3D work--ventriloquist figures, dolls, masks, and so on.
I've known Bill for many years and just caught back up with him recently. It recalled several times when I had the privilege of sitting in his studio and watching him work his magic on paper. It's great to see all the wonderful work he has produced in recent years.
Bill Nelson's signature style...
Exaggerated, "pushed" portraits...
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Here are two sites that specialize in pointing to out-of-the-ordinary mapping concepts, the latest in cartographic technology, and some just plain weird ideas. First, an example...
Watch how you control the information time frame using the slider to the left of the map...
There's lots more to explore on Jonathan Crowe's blog, The Map Room...
And Frank Jacobs' Strange Maps...
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It is always interesting to me to see how talented designers do the unexpected. Baker Vail offers this example of a "conceptual" map.
One of several conceptual maps vrom Baker Vail...
An example of one of their detailed maps (2.9MB PDF)...
A site index (lots of interesting work to see)...
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I admire Chris Whetzel's thoughtful ideas and the bright, sharp shapes of his illustrations. If you haven't worked with an illustrator before, his blog posts also teach a bit about the typical interchange between and illustrator and his or her client.
An project example including the rough cut...
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McConnell & Borow creates props, displays, and editorial illustrations for a long list of clients including Absolut, AT&T, IBM, and so on.
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My interest in the aspects of graphic design that can be "proved" continues to grow. By "proved" I mean visual and informational structures that are actually based on some type underlying formula.
I thought this article was particularly intriguing: "The mathematics behind the Droste effect." It poses that when M.C. Escher drew his Print Gallery, he was, without realizing it, following a rather complex mathematical formula.
It reminded me of our discussion a few months ago about whether there exists some type of "design DNA" that we do not yet understand.
Seb Przd's conformal mapping imagery...
The mathematics behind the Droste effect...
Our earlier discussion, "Is there such a thing as design DNA?"...
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If you want some terrific presentation inspiration, head over to The Art of the Title Sequence. It demonstrates how top film title designers, past and present, combine pictures with words to communicate ideas in thoughtful and intriguing ways.
While there, check out the wonderful collection of alphabet posters created for the film Coraline. Take note of how each letter of the alphabet is modified to provide a secondary meaning.
These are the titles for Coraline...
For fun... the Coraline movie site...
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I recently mentioned Pictorial Webster's: A Visual Dictionary of Curiosities and received a heads-up about another great resource from Caroline Fortin, Publisher of QA International. She referred us to The Visual Dictionary Online--an interactive dictionary with a long history and a futuristic approach.
"From the image to the word and its definition, the Visual Dictionary Online is an all-in-one reference. Search the themes to quickly locate words, or find the meaning of a word by viewing the image it represents."
Very cool.
Try it out. Choose a theme and drill down to a specific subject...
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The Center for Cartoon Studies (CCS) offers a two-year course of study that centers on the creation and dissemination of comics, graphic novels and other manifestations of the visual narrative. It's curriculum of art, graphic design, and literature reflect the wide array of skills needed to create comics and graphic novels. CCS emphasizes self-publishing and prepares its students to publish, market, and disseminate their work.
The Center for Cartoon Studies (CCS)...
Download a free copy of CCS's How To Brochure (3.63MB PDF)...
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Next time you are brainstorming an advertising or marketing piece, consider the idea of using an illusion to illustrate your point. I'm thinking, if you find just the right illusion (something somehow related to your topic) and write a thoughtful tie-in for it, you'd have a built-in reason for people to stop, look, and get interested.
Thanks to my brother Jim Green for sending me this link to the 2009 Finalists of the Best Visual Illusion of the Year Contest.
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In the last five years Yuko Shimizu and her work has been written about in all the major design and illustration publications. If you are unfamiliar with her illustrations, you'll soon see what all the fuss is about. She has a distinct style and a real talent for dream-like storytelling.
This is Shimizu's site (includes R-rated material)...
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Pictorial Webster's: A Visual Dictionary of Curiosities is a book compiled by John M. Carrera. It features over 1,500 engravings that originally graced the pages of Webster's dictionaries in the 19th century. Here is a fascinating look at the production of the book and the story behind it.
An overview of the project via video. Pictorial Webster's: Inspiration to Completion...
A discussion of the project at Quercus Press...
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Just when I have fooled myself into thinking I have some type of handle on the scope of what designers are designing, I come across something like this. These organic, three-dimensional typographic illustrations by designer Luca Ionescu of Like Minded Studio redefine (to me) what is possible. Old dog. New trick?
Example 1: from Texas Monthly magazine...
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While we're on the subject of innovative informational design (my previous post), take a look at Newsmap—an application that "visually reflects the constantly changing landscape of the Google News news aggregator."
It is the brainchild of design engineer Marcos Weskamp.
Not surprising Weskamp is also a Senior User Experience Designer for the Adobe Index group...
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Beginning in 2005 Seed Magazine began publishing a series of what they label "cribsheets." The formal explanation goes like this: "Scientific issues and innovations are figuring into everyday conversation more than ever before. Recognizing that we could all use some brushing up, Seed offers its Cribsheet."
It appears the last edition (#18 Biofuels) appeared in 2008. The series is both interesting and innovate for its content and design.
Cribsheet #11 Plate Tectonics...
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I don't have a clue about the subject matter here but Aaron Horkey's illustrations and hand-lettered word groupings are fabulous.
BTW, anyone know of an official term for the assembly of individual words into a composition—the process of putting together the pieces of the puzzle? Seems as if there should be a term for it other than "word grouping."
His portfolio on Rock of Eye...
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That is the beauty of the web—every so often you stumble on something really phenomenal. My latest happy discovery is this amazing collection of posters, photos and prints from the collection of Jaap Best, the Netherlands' largest collection of circus memorabilia. 3,500 colour lithographs and thousands of other pieces. Amazing stuff.
The Circusmuseum.nl cover page...
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John Solimine is Spike Press. Spike Press is John Solimine. Seems as if everyone has recognized him in the last couple of years--Communication Arts, Coudal Partners, illustrationMUNDO, Lettercult, and so on.
I was particularly impressed by his poster designs...
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Alison Carmichael has a wonderful gift for all types of lettering design. You can see the depth of her talent under "Poster ads."
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True passion is rare.
Much creative energy and expertise is expended moving value from one hand to the other. That's not a criticism--commerce makes lots of good things possible--I am a card carrying member of the commerce thing. But I can't help but take special notice when I encounter expressions of interest and involvement that appear at least, to have grown out of a pure devotion to its subject.
I see that in a new publication--UPPERCASE magazine (2009). A magazine? Are you kidding?! Who starts a magazine in the year of Twitter? People with passion do--their names are Janine Vangool and Deidre Martin and they've enlisted the help of an eclectic collection of talented contributors--designers, illustrators, photographers, typographers, writers, and others.
The purpose of UPPERCASE is to take a look at the creative process from all angles: profiling creatives, peeking into work environments, pointing to examples of styles and palettes, uncovering interesting ephemera--they even devote a section of the magazine to brief profiles of five or six of their subscribers--an approach that (to me) demonstrates something important about their thinking.
Enough with the accolades--at this point you probably think these are relatives of mine--they aren't, I have no connection with them whatsoever. But I can tell you the first thing I did after closing the last page was to go online and subscribe. I figure that when you find a passion you share, you should support it.
UPPERCASE Magazine: Issue 2 preview...
The magazine is just part of the mix, their web includes lots of interesting material...
You can buy the current issue or subscribe here...
Once you've seen it, I'd love to hear your comments below...
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Can't believe I missed this before now. As the developers of these unbelievable maps explain, "In the future, every city will have a corresponding 3-D virtual city (E-city), where the population, geography, and commerce will be extended from the real city." Here is what they have in mind.
The illustrated city of Fuzhou...
The city of Hong Kong labeled in English...
The Edushi cover page with access to many city illustrations...
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While we're on the subject of ephemera (my post on Monday). How would you use it? Well, one way certainly is to choose parts and pieces as influence and inspiration. Another way is to recast it in a new light. That is what Lorenzo Petrantoni does. In fact, in a profile on his philosophy in Communication Arts, he says, "I love old books. I want to bring them back to life, discover their stories and tell the present through the past."
A Petrantoni illustration for The New York Times Magazine...
The profile of Petrantoni at commarts.com...
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Historic Stock Market is an international online-market for historical shares, old stocks, bonds, and financial documents. Their collection includes at least 20,000 old stock and bond certificates, many of which include elaborate illustrations, ornate typography, and/or highly complex borders and patterns. This is one place to remember when you need some graphic design inspiration.
Look at the meticulously crafted filigree on this 1920s British certificate...
and this French certificate from the 1890s...
If you're interested in exploring further...
Another excellent source: George H. LaBarre Galleries...
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The consensus is good for Canadian illustrator Jillian Tamaki, she was recently awarded Gold medals by both the Society of Illustrators and the Society of Publication Designers. I particularly admire her ability as a storyteller.
An interesting life portrait...
A recent interview with Illustration Friday...
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Catalina Estrada is an illustrator who has turned her illustrations into a small industry. Some applications of her intricate repeat patterns and icons are used to draw attention to another product, service, or idea--others make her illustrations the product itself. An important distinction.
If you've read this blog for more than a few months you know that, to me, commercial graphic design is not self-expression. This is an excellent example of the exception--how a designer or illustrator can successfully segregate professional and personal focus.
Estrada's bio and some downloads are featured on her rep's site...
Estrada's clothing line for Levis...
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It is, "the run-of-the-mill stuff that keeps the mill running." That's not a dig--I say it with great respect and affection. This is the type of work that rarely commands the recognition high-profile advertising work does, but that is often more consequential because of the much needed information it imparts. Hats off.
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I love how he recasts this type of retro style with vivid colors, hard shapes, and surprising perspectives.
Another surprising perspective...
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I'm sure you've read about Tokyo street style. And that the world fashion industry keeps an eye on how young people are dressing there--that it is one of those places from which designers draw inspiration.
Anna Rusakova reminds us that we need to keep our eyes open for inspiration everywhere. Though this might not be your style, I doubt you would disagree that she has a wonderful sense of her's. She creates fascinating illustrated Moleskine notebooks and presents them within an eclectic kind of color palette-interior design-fashion environment kind of thing that makes it all work.
I just found it very interesting that all these pieces, even the way she has organized and photographed a selection of candies, seems to establish a very clear sense of style.
What do you call this mix of design, illustration, fashion, place, and typography? Is there a better description than simply "style?"
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When it comes to illustration, Bob Staake is the top tier. His list of corporate clients includes names such as Sony, Disney, and Hallmark; Publishers such as Random House, Simon + Schuster, and Scholastic; Publications such as The New Yorker, The Washington Post, and Barron's.
His finished color illustrations command thousands of dollars, but you can buy an original, signed Staake doodle that you design for $40? Yup, no kidding. To me, one of the coolest, most unusual gifts you could get or give. (I know this sounds like an advertisement but nope, no commission, don't know Bob Staake.)
Bob Staake's Doodlekaboodle samples...
Some examples of Staake's work...
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You can enjoy this site on two levels. First by exploring the fabulously rich visual environment and the vast network it opens doors to. Second, to read some interesting theories about where planet earth and our universe is headed. Genuine "wow" stuff.
And now: a little visual stimulation...
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When I was a kid, my father had a subscription to the New Yorker. I would always study the covers and remember thinking how amateurish the illustrations were. My young eyes did not appreciate the insight and restraint it takes to create great illustrations (I even wrote to them offering my services but never heard back).
Christoph Niemann understands whatever it is that equips you to see the world as a series of little stories. He is the quintessential idea animator.
Abstract City, Niemann's blog for the New York Times web...
Niemann's The Pet Dragon: A Story about Adventure, Friendship, and Chinese Characters ...
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Love how each of Chris Gall's idyllic, rich illustrations tells a story.
Example 3 (Beautiful lighting)...
Example 4 (Interesting contrast between the background and foreground)...
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Eamo has a penchant for fluid, complex lines and an acid-hot color palette. Nice stuff.
In the Ideabook Design Store: Design-It-Yourself: Graphic Workshop...
You'll find Edwin Fotheringham's illustrations all over the web and on everything from books to billboards. Stylistically they are (to me), at the same time, both old and new. Love his web design (last link).
In the Ideabook Design Store: Moleskine Notebooks...
I WANT THIS POSTER!
I had not run into Ronald Kurniawan's great work until the other day, his illustrations are superb.
The West Hollywood Book Fair Poster...
Another great example for a Folgers ad...
In the Ideabook Design Store: Getting It Printed...
Frank Chimero does. Where I might be tempted to add another layer of imagery and/or explanation to these illustrations, he is confident enough to hold back. That "sense of subtraction" is one of the most important skills a designer can possess.
One of Chimero's posters aimed at inspiring designers...
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Charmingwall.com bills itself as, "A New York gallery specializing in a curated selection of open-edition fine art prints." What I want to show you is how they establish a foundational illustration and take you to the different site categories by modifying that illustration. A solid idea that could be reinterpreted in many different ways.
In the Ideabook Design Store: Templates for InDesign, QuarkXpress, or PageMaker...
Isn't that what faux drop shadows and reflections are all about? Russian designer Yulia Brodskaya did just that by creating a series of three-dimensional cut-paper illustrations for G2, a supplement of the British newspaper the Guardian.
Brodskaya's illustration portfolio...
NEW in the Ideabook Design Store: Tintbook CMYK Process Color Selector...
I saw one of Serge Bloch's illustrations in a magazine the other day and looked him up. I really like the idea of combining objects with illustrations and I wanted to see if he had done other projects using that same technique. He has. Here are a few examples.
The basic idea is to combine an object with an illustration...
And something a little more complex...
In the Ideabook Design Store: Design-It-Yourself: Graphic Workshop...
Don't get sidetracked with the joke here, this reality version of Photoshop communicates, without words, what a powerful software program Photoshop is. This idea of recasting a cold subject (software) in warm terms (boxes and cups of paint) helps the reader think about the subject in another way. Next question: How can I use the idea of substitution in my next project? Thanks to cartoonist George Coghill for pointing me to it.
New in the Ideabook Design Store: Creative Advertising...
Barnacle Press is a rather odd source worth knowing--odd because it seems rather anonymous and covers some material that is not easily divided by two. Dig in and you'll find lots of ideas about communicating and comic illustration.
Comics 1.0 from Barnacle Press...
Papercraft toys are from the LA Times...
In the Ideabook Design Store: Pantone Guide to Communicating with Color...
For my money David O'Keefe is the world's top 3D caricaturist. His sculptures are absolutely spot on—at once, humorous and revealing. They have appeared on the covers of Sports Illustrated, Mad Magazine, The Village Voice, within the pages of TIME, and so on.
An example of David O'Keefe's sculpture, in this case, of David Letterman...
In the Ideabook Design Store: Templates for InDesign, QuarkXpress, or PageMaker...
If you have ever needed a detailed, accurate map for a project you know that, though there are maps galore on the web, finding and licensing one can be a complicated proposition. That's why I want to point to a recently launched rights-managed and royalty-free map resource from GeoNova Publishing, Inc.—StockMaps.com. They offer base maps for custom map creation and what they characterize as "market-ready maps for media, marketing, publishing and display." GeoNova Publishing is a Discovery Communications / HowStuffWorks company.
In the Ideabook Design Store: Brenner Pricing Tables...
It's been a long time since I've come across a large collection of black and white vector silhouettes. These remind me of the material offered by Ultimate Symbol. Both are worth a look.
Examples of Neubauladen vector illustrations (and fonts)...
An index of the Neubauladen images...
The Ultimate Symbol Collection...
In the Ideabook Design Store: Before & After: Page Design...
I don't often point to my own work but I think this is a nice solution to complex problem. Click2Mail offers a system for creating, personalizing, producing, and mailing print materials such as brochures, postcards, and letters. To explain how it works, we created a big-picture diagram and added mouse-over captions that provide in depth information to those who want it.
In the Ideabook Design Store: The Color Harmony Guide...
ITEDO Software develops products for the creation and viewing of technical illustrations and they offer an “information portal for technical illustration.” It features an in depth collection of tips and tricks for producing illustrations including labeling drawings, shadowing of lines, and so on.
Here are the tips and tricks...
In the Ideabook Design Store: Task Force Clip Art...
Don't like the world as it is? Quit blubbering and make your own. That's what Ross MacDonald does. Some paint, a few printing presses, and an active imagination make his world one step outside the hopscotch of reality. Ross MacDonald is a renowned illustrator, an gifted cartoonist, a talented letterpress printer, a successful children's book illustrator, and (perhaps most interesting) an accomplished movie prop engineer.
In the Ideabook Design Store: Before & After: Page Design...
Pictures are powerful stuff. This little book looked interesting enough that I ordered a copy (even though I have no plans to visit China anytime soon). It provides images that represent various ideas you would commonly need to communicate to someone who does not speak the same language—a picture of a credit card, a toilet, food items, and so on.
It is not be a new idea but a nice execution of it. More than anything it is a good reminder of how far a pertinent illustration can advance communication—even when you speak the same language.
In the Ideabook Design Store: Before & After: Page Design...
It wasn't long ago that graphic design was as much craft as it is intellectual exercise. You could argue that there is craft to using computers and software, but the physicality of most designer's daily work is not what it once was.
So it is refreshing (and nostalgic) to see great craft being practiced. Thank you to my friend Sheila Hanchard who points us to the work of Russian animator Alexander Petrov. Though he is best known for his artistic achievements—among others, his adaptation of The Old Man and the Sea—he is the director of several much-acclaimed, anti-conventional spots for United Airlines.
One of the United Airline spots—titled The Rose...
A clip from The Old Man and the Sea...
The Canadian animation studio Petrov works through, click Welcome > Directors...
And a fascinating documentary of Petrov's pastels on glass technique...
In the Ideabook Design Store: Task Force Clip Art...
Illustrator is to artist as reporter is to poet. The reporter uses words to communicate news—the poet defines his own purpose. To my function-focused mind there is nothing quite so compelling as an illustration that communicates the idea more persuasively than words could. David Gothard is an illustrator with a wonderful talent for marrying concepts to images.
In the Ideabook Design Store: Art Parts Clip Art...
Last month I mentioned David Ogilvy's penchant for writing copy in the form of a story. Here are some excellent examples of the genre illustrated by James Bingham. What better way to communicate your idea than to spin it into a memorable anecdote or story.
Once you've seen this you can spend the rest of your morning (sorry) looking through Thomas Clement's American Art Archives—a treasury of illustration and advertising history.
James Bingham's storytelling illustrations...
Here is the index of illustrators on the American Art Archives...
In the Ideabook Design Store: Creative Business CD-ROM...
Bob Staake has found the secret of youth. Somehow, as he ages, his illustrations get fresher and more interesting. If you don't know his work you will find it on the pages of publications such as Time and The New Yorker and among projects produced for clients such as Disney and American Express. He has also authored and/or illustrated over 40 books.
You may be surprised to learn that, though he had a good thing going in the early nineties, he dared to reinvent himself. He not only made the move from the drawing board to a computer, he dramatically changed his illustration style. His story is a good example of how assessing and reinventing your approach and skills can lead to even greater success.
The story of how Staake reinvented himself...
In the Ideabook Design Store: Brenner Pricing Tables...
For our purposes, I am more interested in the expression of this idea than in the idea itself. Not that I think it is a bad idea, just that I am so impressed by the spirit in which it is discussed and illustrated—with such enthusiasm.
Nick Sherman's Modern Day Type Specimen Book...
Another well-illustrated article...
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...
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...
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.
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...
Illustrator Mark Fisher explains “On the weekends I am the night watchman at a large old Civil War era mill complex that has been converted to business and office space. Alone from midnight to 8 am I draw and sketch in between my rounds. Sometimes while drawing I will suddenly awake and find odd lines or blobs that happened while I dozed off. I leave most of those accidents in the art.” The resulting illustrations are on his drawger.com site.
Mark Fisher's somnambulistic sketches...
To me an innovator transforms some aspect of the world around them into something it would not otherwise be. They use their skills and talents to add something useful and positive to the conversation. Artist and illustrator James Gurney it that type of innovator.
Gurney transforms his world into this world...
And he tells us all about the process here...
If computers were to disappear tomorrow Randy Glass would still be in business. As he explains it, “All of my illustrations are hand-drawn (no computer enhancement).”
Glass is a master of, among other techniques, stippling—defined as the process of “marking (a surface) with numerous small dots or specks.” A technique that is especially favored in the newspaper world—where paper quality sometimes adversely effects reproduction quality (a well executed stippled image prints more clearly). He, like Noli Novak (mentioned in a Feb 14, 07 posting) also produces the stippled portraits made famous by the Wall Street Journal.
A gallery of his WSJ illustrations. Check out how the dots radiate from the eye (center portrait)...
I was blathering on about the intricacies of technical illustration to friend and client Gil Chotam recently when he pointed me to Kevin Hulsey's site (guess Gil knows a little about the subject as well). I am new to Hulsey's work, it is extraordinary. And his site is the embodiment of that work--a virtual cutaway of his thought process. Even the layout is info-centric, to the extent that he lists contact details at the top of the page (makes sense to me) and includes the monitor color calibration settings under which the images are proofed.
To me, the best part is the tutorials...
And his comprehensive approach to sharing information...
From a business standpoint, these pages are worth a look...
Get a cup of coffee, here's the sitemap...
This is going to sound over the top but Mike McConnell's illustrations leave me with a sense of well being. They look as if he honestly enjoys his work and that, to me, is an enormous accomplishment.
Hal Mayforth has been building a universe of characters for a bunch of years. What is so interesting about his work is how it continues to evolve. He pushes and experiments and changes direction in ways that keep his characters and concepts fresh. Hope I can do that when I grow up.
Asked to choose from two doors, one labeled “simplicity” and one labled “complexity”, I'm guessing most of us would choose the simple side. Complexity has a poor reputation. A trip to visualcomplexity.com, a creation of information architect Manuel Lima, may not change your perception, but it can't help but boost your appreciation for the art of defining concepts and expressing data through imagery.
An example: The Mammal Supertree...
When I came across these illustrations by Gary Alphonso, I was struck by how beautifully composed they were and by his the striking color choices.
Illustrator, Gary Alphonso (click the copper colored arrows to his entire portfolio)...
My big list of illustration resources at Jumpola.com...
I love new, I love old. Here is a wonderful compilation of works by some of the most gifted illustrators of the last 100 years. The site is the gift of Paul Giambarba—a designer and illustrator with an impressive resume of his own.
A look at one of my favorites, Howard Pyle...
New in the Ideabook Design Store: Creative Advertising...
Labeling this guy an illustrator doesn't do him justice. He is a hell of a designer as well. If that weren't enough, he is also a master of the type of ornate organic filigree stuff you see popping up all over. I like the deep, leathery feel of some of his designs and illustrations. And the fact that he turns right around, does a head fake, and creates something bright and simple.
Cerriteño's illustration portfolio...
In the Ideabook Design Store: Before & After: Page Design...
I doubt my junior high mechanical drawing teacher ever even dreamed about this type of isometric drawing. The reason it appeals so much to me, I think, is that it expresses the asymmetrical in a structured form. That make sense? In any case, Lee Hasler (who spends at least some of his time parading around town on a tractor) produces some great work.
One of Hasler's illustrations (isolated)...
The Eyeport site with Hasler's portfolio (the numbered row at the top)...
In the Ideabook Design Store: Brenner Pricing Tables...
Collaboration is no easy thing—especially for designers. I admire the way Gina Triplett and Matt Curtius combine their talents to produce such unique images.
In the Ideabook Design Store: Moleskine Notebooks...
Greg Newbold is a storyteller. His illustrations have a warmth and spirit that make them an obvious choice for fiction and editorial projects, so I especially like seeing them used for commercial application. It's unexpected.
An example of one of Newbold's illustrations used for advertising...
In the Ideabook Design Store: Graphic Artists Guild Handbook: Pricing & Ethical Guidelines...
My first job in design, a stint as the news artist for WTTG TV in Washington, DC, established a my deep-rooted interest in information graphics. Here is a wonderful series that illustrates the chronology of the Museo Nacional Centro De Arted Reina Sofia in Madrid.
Click “Cronologia” and use the arrows below the text to step through...
If you don't have time for a visit, here is a virtual tour of the museum...
New in the Ideabook Design Store: Creative Advertising...
One reason some motion pictures are so compelling to so many is the fact that they effectively mix reality with magic. This illustration by John Maggard is a wonderful example of how the mixture of fantasy and fact can be used to demonstrate how products work and how services are rendered.
Maggard's illustration (isolated) ...
Within the context of the page on which it was found...
In the Ideabook Design Store: Before & After: Page Design...
There are some really nice things happening with the illustrations at tnvacation.com. I particularly like the screen dot pattern in the backgrounds of many of the images, the woodblock type, and the subtle changes in color and content as you rollover images. My hat is off to the illustrator. I was unable to nail down a name.
Note how the main photographs are overlaid with graphics...
You could design a site around this type of image alone...
In the Ideabook Design Store: Before & After: Graphics For Business...
Is "vectorization" a word? If so, this page personifies it. I like the simple shapes and fresh colors. In the proper context, defining an illustration style and using it throughout is a smart, frugal way to design. You can represent any concept and keep it within the boundaries of the design.
If you're not up to speed on vectors...
New in the Ideabook Design Store: Creative Advertising...
A good writer cultivates an approach to examining a subject and develops a unique set of skills for expressing their ideas about it. This illustrator, to me, offers that same type of methodical, thoughtful approach.
Designer Eddie Jabbour demonstrates how eliminating data can actually improve communication.
Eddie Jabbour's NYC subway map...
Kevin Cornell illustrates the often complex ideas addressed at A List Apart Magazine—an online publication that “explores the design, development, and meaning of Web content, with a special focus on Web standards and best practices.” He does a wonderful job of revealing the key point.
An example of his illustrations on A List Apart...
Von Glitschka says, “I got into design because of my fear of math.” Most of what you will find on The Illustrative Designer is painted in that same spirit. Von shares interviews (via Podcast) with illustrators and designers such as Paul Howalt and Bill Gardner. As he explains it, “I thought it would be fun to interview other creative minds and talk shop. It seems like most artists tend to do this when they meet up anyway so why not do the same thing but in podcast form and let everyone have a listen in on the conversation.” I agree.
It is difficult to categorize Marian a’s work and she doesn’t offer much help. In the section of her Web titled “What I say about myself,” she describes herself as a, “lapsed Graphic Designer” then denies it in the next sentence. My easy-out is to call it illustration and to describe her work as symmetrical asymmetry—in any case, I like it.
Just ran across these wonderful blockprints created by illustrator Mona Caron for Odell Brewing Co.
If you, like me, are fascinated with the process of communicating ideas visually, this “A Periodic Table of Visualization Methods” is worth a look. If you are REALLY interested—you can read a
Before Photoshop and other digital editing software, photo retouchers mounted a photographic print on a board and retouched it using, among other techniques, an airbrush—its virtual version is a mainstay of the Photoshop toolbox. Many talented folks made the transition to the digital platform and still practice their magic today. One of those is Lee Stokes. This page shows an example of the various pieces he uses to compile a complex image and the result.
Use your imagination—if you have the budget, there are some very interesting commercial applications for these stunning, lifelike figures. Gene Poor's LifeFormations is a leading producer of highly realistic museum figures—static and animatronics. I first saw their work on a C-SPAN broadcast surrounding the dedication of the Abraham Lincoln Presidential Library & Museum. What captured my interest was the fact that visitors can stand right next to these incredibly detailed, life-sized figures in the middle of the museums plaza.
As they stand in the museum...
Threadless is a perpetual tee shirt design competition. Creators Jake Nickell and Jacob DeHart came up with the idea after Jake won a similar competition. Submit your illustration and you could come away with a prize that, at this writing, is worth $2000.
Noli Novak is one of the artists behind the Wall Street Journal's signature stipple illustration style. She's been creating portraits for the paper since 1987.
An exhibit surrounding the WSJ style at the National Portrait Gallery
The National Portrait Gallery...
About his work, Kristain Olson says, “I want my work to look alien, or foreign, or just beautiful, to remind (the viewer) of a world they don't understand but are fascinated by.” He hit the nail on the head.
A close-up showing some of the mind boggling detail.
Great idea. Spike your next presentation with The New Yorker sense of humor. You can also license these smart, funny cartoons for newsletters, Websites, and other print and electronic marketing materials.
Tom Richmond, best known for his work for Mad Magazine, characterizes himself as a “humorous illustrator”—you'll see what he means.
And one of his portfolio pages...
Someone obviously was jumping on the kitchen floor when Von Glitschka's soufflé was rising. This guy is not only a top-notch illustrator, his Web is among the best designed, most functional I've seen. Take a close look at all that's happening—it is a good lesson in interface design. I especially like the “Annoy-O-Matic” and “Fun With Toast” under the “Animate” button.
Von Glitschka offers some of the “teach by example” lessons he shared with a digital illustration class at a local college. He explains, “I quickly realized the way my students learned best was when I demonstrated a process. I literally showed them how to go about doing a creative task and commented on it. This led me into developing numerous step by steps...”
If you have ever attempted to design a set of icons, you are certain to appreciate the talents of those who specialize in it.
While we're on the subject—here are some talented map makers.
There is a wonderfully casual feel to Derek Grinnell's illustrations.
One of my long-time favorite illustrators, Don Barnett, has a “gentle” style and design sense. His clients range from Nintendo to Nordstrom.
If you appreciate a good map, you'll want to download one of these samples from Map Resources and play with it. They publish royalty-free digital maps in Adobe Illustrator vector format. I was impressed by the level of detail and the number of layers.
http://www.mapresources.com/samplemaps.asp
I also happened across this example of a citation created by gifted calligrapher John Stevens. It rather dramatically shows the stark difference between computer fonts and the organic quality of great calligraphy. As John so eloquently states: “The life of writing as understood by calligraphers...is nothing like a computer font. One can 'feel' the difference. Fonts try to imitate this look and feel, but to the aware eye, there is no comparison.”
http://www.johnstevensdesign.com/newpages/uzbek.html
Olivier Kugler—A wonderful storyteller
One of my favorites
http://www.olivierkugler.com/c50/images/b02la.gif
John Kascht—An exceptional caricaturist:
What a hoot...
http://slides.sitewelder.com/users/johnkascht/images/johnkascht21994.jpg
Chris Sickels (Red Nose Studio)—And now for something a little different.
Some nice examples of vector illustration.
To my way of thinking, Steve Lyons is a digital illustration and design pioneer. You've seen his work on everything from Adobe marketing materials (everything he does is an ad for Illustrator and Photoshop) to the pages of The Wall Street Journal and the cover of Newsweek.
http://www.stevenlyons.com/site06/pages/assignment.php
Nancy Stahl is an Illustrator (Adobe) illustrator. I first saw her work in The Illustrator Wow! Book—pretty good indication you know what you're doing when teachers teach using your work as an example.
Michael Doret's work would look familiar even if you hadn't seen it before, as he puts it, “The work falls into the tradition of, and has as it's inspiration such diverse sources as matchbook covers, theater marquees, enamel signs, early and mid-20th century packaging, and various other artifacts of US Pop Culture.” Check out his Time Magazine covers and other feats of design.
http://www.michaeldoret.com/doret/artwork/oilgame.html
Derek Yaniger's illustration style (as he characterizes it is “reminiscent of cocktail napkin art of the 50's.” I think he's being modest. I haven't seen much in the way of new illustration collections lately—it's good to find this one.
http://www.misterretro.com/index.html
Luciole Circus is a colorful little world of claymation figures created by illustrator Josephine Pujos. I love the design and art but I want you to see it because I think she has created something unique. Her technique of using small windows filled with logo-like headlines and animated 3D figures demonstrates that there is always an innovative approach to be found it if I only have the patience to uncover it.
http://mixeurgraphic.free.fr/circus/#
I like it. Jack Unruh adds emphasis to specific elements of his works by adding or subtracting detail and color, and by portraying some elements as real and others as dreamlike. Fascinating stuff.
http://www.jackunruh.com/home.html
If you use Google's search engine you've probably notice they add a little something extra to the Google logo from time to time to celebrate a special event or holiday. But have you noticed some of the more obscure dates they celebrate such as Monet's birthday and the 50th Anniversary of Understanding DNA? Here's an archive:
http://www.google.com/holidaylogos.html
In her bio, Simone Zahradka characterizes her work as “inspired by carnivals, kitsch, love, chaos, circuses, garbage, pop culture, folk art, and 60's style”—if that doesn't pique your interest, nothing will.
Storyopolis is a unique art gallery and bookstore that showcases the best in storybook illustration.
Until I stumbled across his Web site the other evening I didn't know designer Michael Schwab created the bold, bright icons for the National Park Service I have hanging on the walls of my home. (You'll see a few here—Alcatraz, Fort Point, and Muir Woods.) Tell me what you think.
http://www.michaelschwab.com/portfolio/posters/posters.html
I've used Image Club clip art for many of the designs I create for books and Web sites over the years so I was sad to see the collections disappear from the scene when Eyewire was acquired. Good news: the Image Club collections are back—by the piece and by the collection.
http://www.fotosearch.com/image-club/
For example, the illustration of the jukebox on this page:
http://www.ideabook.com/001_art/inside_art.htm
Can be had here:
http://www.fotosearch.com/ICL147/mus_086c/
For someone who would rather look at pictures than read, this site kept me busy for a couple of hours. I'm always fascinated to see how well a good illustrator can express a complex idea, stir my emotions, and even get me to chuckle. This site features some of the best.
Or jump to a particular category such as “comic”
Keep your eye on the Web site designs—you’ll discover lots of creative ways to present your portfolio.
I stumbled across Joel's portfolio and didn't stop looking until I had seen it all—I love it (I don't have the slightest idea what it all means but I love it).
http://www.joelnakamura.com/portfolio/portfr.html
I love the story quality of this highly-illustrated style of advertising—what someone once described as provoking a “Hey, what's happening here?” reaction. Makes me wonder how I might integrate a modern version of the technique into my own work. EphemeraNow.com treats us to a whole collection of great images.
What more could you ask—a beautifully designed site, brimming with valuable insight, a deep list of resources, and FREE artwork.
Download your choice of metal type ornament reproductions.
Simple looking/sounding communication is complicated to produce. XPLANE specializes in turning complex business issues into easy to understand visual explanations. I suggest it in the hope that it will trip the same switch for you as it did for me. Marketing futures are brightest for those who are able to reduce their message to its essence.
http://xplane.com/xplanations/executive/
And now for something completely different:
http://www.ledpants.com/NEWoldsite/index.html