Category Archives: Design

Legibility

This blog has been skinned with a number of themes over the last year. Thus far, none have focused on that which I value most: legibility. I think its time to do something.
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Rebranding Nations

Unapolo­getic, and unabashed, Wally Olins speaks on the brand­ing of nations (Note: .pdf file.):

And the rebrand­ing of France has pro­ceeded spo­rad­i­cally and often vio­lently ever since. Napoleon’s Empire gave way to the restored Bour­bons, who were over­thrown and replaced by a bour­geois Monar­chy, which was fol­lowed by a Sec­ond Repub­lic which turned itself into a Sec­ond Napoleonic Empire. In an attempt to recre­ate the glory of his uncle, the first and incom­pa­ra­bly greater fig­ure, Napoleon III and the Sec­ond Empire went down to humil­i­at­ing defeat by Prus­sia in 1870. By the time the Third Repub­lic emerged from the ashes of the Sec­ond Empire, French politi­cians had become the worlds spe­cial­ists at brand­ing and rebrand­ing the nation.”

And fur­ther draws par­al­lel between the brand strat­egy of nations and businesses:

Busi­nesses have to cre­ate loy­al­ties; loy­al­ties of the work­force, loy­al­ties of sup­pli­ers, loy­al­ties of the com­mu­ni­ties in which they oper­ate, loy­al­ties of investors and loy­al­ties of cus­tomers. In cre­at­ing these loy­al­ties they use very sim­i­lar tech­niques to those of nation builders. They cre­ate myths, spe­cial lan­guages, envi­ron­ments which rein­force loy­al­ties, colours, sym­bols, and quasi-​​historical myths. They even have heroes.”

Here in Alberta, there are ongo­ing con­cerns with pre­sent­ing the province to the world in a pos­i­tive light, some­times con­tro­ver­sial, some­times regarded as expen­sive and ulti­mately unsuc­cess­ful. This has resulted in a multi-​​front war of words divided amongst the Provin­cial gov­ern­ment, advo­cacy groups, envi­ron­men­tal stew­ards and the news media.


(Sun­cor Energy upgrader and tail­ings

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Stadsfiets

Built around an alu­minum frame, this Dutch bike fea­tures a single-​​speed, coaster brake, inte­grated solar pow­ered LED head and tal­lights and not much else.

We were inspired by the good old-​​fashioned Dutch bike,” explains the 28-​​year old Dutch designer Sjo­erd Smit, “we stripped the bike from whims that can only break or cause frus­tra­tion and added inno­va­tion and style”.

The VANMOOF is a thor­oughly mod­ern town bike, and looks noth­ing like the old stads­fi­ets my Old Opa would have built at our fac­tory, (though that’s not nec­es­sar­ily a bad thing!) It cer­tainly res­onates with me: I sus­pect cycling is in my blood.

VANMOOF promises a new model every six months, and this is a firm I’ll con­tinue to watch.

Update: Portland-​​based, Specialized-​​owned, Globe Bicy­cles looks to have a small, but grow­ing col­lec­tion of prac­ti­cal and not-​​so-​​practical mod­els for sale. More inter­est­ing than their offer­ing, how­ever, is the run­ning com­men­tary on factory-​​built/​imported bicy­cles vs. locally built by a skilled frame­builder in the post com­ments at the NAU blog. (via Luke Dorny/​@luxuryluke.)

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The Small Stakes

Two exam­ples of a superb four-​​colour screen­print in progress by Jason Munn of The Small Stakes design stu­dio. Many of his prints are for sale, in lim­ited runs, in his online shop.

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Weniger, Aber Besser

Good design is hon­est. Good design is thor­ough to the last detail. Good design is as lit­tle design as pos­si­ble. [Dieter Rams]

There is a brief, but impor­tant list of peo­ple that I would credit for my love of design, art and archi­tec­ture. Indi­vid­u­als who’s guid­ance and men­tor­ship was and is invalu­able: my Oma and Opa, painter and pho­tog­ra­pher, respec­tively; my father, the engi­neer and pho­tog­ra­pher; Pat Dowie, pho­tog­ra­pher and print­maker; and Jacqui McFar­land, inte­rior and graphic designer. The rest, whom I’ve only known in books, pho­tographs, and occa­sional con­sumer pur­chases include John Paw­son, Jonathan Ive, and Dieter Rams. These indi­vid­u­als, seen and unseen, have col­lec­tively devel­oped my aes­thetic world­view, and I carry them with me every day.

All the more excit­ing then that Rams and Ive, among many oth­ers, are included in the list of per­son­al­i­ties fea­tured in Gary Hustwit’s lat­est film, Objec­ti­fied, which debuted at SXSW, a cou­ple weeks ago. I eagerly antic­i­pate an announce­ment of a screen­ing here in Calgary.

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Job Security? Become a Pressman

Print­ing as a voca­tion attracts many young and women, because it offers real oppor­tu­ni­ties for steady work, good pay and advancement.

Job secu­rity, sta­ble earn­ings. Sounds good. Per­haps you’d like to cross-​​train on a Lino­type machine.

For the record, I think about this line of edu­ca­tion every day.

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Honour to the Woods Unshorn

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An Expression of Joy


BMW is work­ing with South African artist Robin Rhode to pro­mote the BMW brand, the Z4 Road­ster, and osten­si­bly Rhode’s own work with another instal­la­tion of their long-​​running part­ner­ship with the arts via it’s BMW Art Cars program.

Rhode has pre­vi­ously come to light when Nike SB took heavy ‘inspi­ra­tion’ from his pieces as the basis of a series of adver­tis­ments fea­tur­ing Paul Rodriguez.

His work with BMW on the sur­face appears to be a long stretch from his foun­da­tion as a per­for­mance artist, in many cases being site-​​specific. In ‘Leak’ (2000), Rhode refenced Duchamp’s ready­made ‘Foun­tain’ (1917) by uri­nat­ing on a hand-​​drawn uri­nal inscribed on the wall of Cape Town’s South African National Gallery. Fur­ther:

Rhode’s visual and con­cep­tual alpha­bet is built around issues of desire, loss, and dis­lo­ca­tion in a cap­i­tal­ist world while also acknowl­edg­ing the spe­cific indig­ni­ties of grow­ing up “col­ored” in for­merly apartheid South Africa. For instance, Park Bench (2000) was a life-​​size draw­ing of said object on the wall of the Par­lia­ment build­ing in Cape Town, in an area that used to be off-​​limits to all but white South Africans. Dressed in dark, hooded cloth­ing asso­ci­ated with trouble-​​making youths, Rhode then pro­ceeded to loi­ter around his bench and was even­tu­ally arrested for defam­ing state prop­erty. [–Walker Art]

It would seem to me BMW wants des­per­ately to iden­tify with Rhode’s rebel­lious streak. I see that more to be a rep­re­sen­ta­tion of…

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No Letter Is An Island

Type sample by Luciano Perondi.

Type sample by Luciano Perondi.

Regard­ing the design of char­ac­ters, I believe it is espe­cially essen­tial to do so by hand, where one can observe the cal­li­graphic char­ac­ter. […Work­ing dig­i­tally] lim­its of the very vision of the designer. In any case I believe that the design of char­ac­ters is a com­plex issue and should be [evo­lu­tion­ary, so as] not to over-​​design. In design­ing courses I choose a spe­cific topic, but very wide and with just a mod­er­ate amount of restric­tions and para­me­ters to be met, because vio­lat­ing the rules is eas­ier than cre­at­ing alone, and the most orig­i­nal fol­low the oppo­site path. [–Trans­la­tion via Google, with some cleanup. Orig­i­nal.]

I’ve spent the evening search­ing and turned up very lit­tle English-​​language infor­ma­tion on this face, much less exam­ples in use. Com­mis­sioned by the Uni­ver­sità Iuav di Venezia, and designed by Luciano Per­ondi in 2004 for use in Venice’s wayfind­ing sys­tems, it’s not read­ily appar­ent to me if this face was ever actively used for way­far­ing in the pub­lic realm. That said, I’m awfully enam­oured with Min­io­type‘s char­ac­ter at large sizes, and sur­pris­ingly del­i­cate grace when set small.

We think of signs–the task is to bring a per­son from one place to another but can be [visu­ally] very strong, even evoca­tive. Per­haps we need to reas­sure the user of a dan­ger, or sim­ply make them feel com­fort­able in an ele­gant place. [These are] mes­sages that are not attrib­ut­able solely to writ­ing, but also to a form of rhetoric of another type; a

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