Sneakerheads, ein kurze Tour durch die Geschichte des Air Jordan. Mit allen dazu notwenigen Infos und Fakten. Ich selber habe nur zwei davon gekauft und getragen – und hatte eigentlich Sneaker-mäßig dann immer doch andere Vorlieben. Aber um Air Jordans kommste halt nicht drum. Kannste nix machen.
(Danke, Bemme!)
Vor Jahren schrieb ich hier mal über eine Digital-Uhr von Humans since 1982, die aus mehreren alten Analog-Uhren zusammengesetzt wurde und als dann neu vereintes Ensemble die Uhrzeit richtig wiedergeben konnte. Dazu gab es damals nur ein Foto. Mittlerweile gibt es auch ein Video. Und man kann das Teil im MoMA-Store kaufen. Für „schlappe“ $5K.
Clock Clock 24 is a statement-making object that re-contextualizes time through an ingenious marriage of analog and digital. Twenty-four round clocks come together to create one giant digital display. The clock hands are choreographed, liberating the clocks from the sole purpose of telling time. Can be set for 12 or 24 hour time in three different modes: minimal, medium or elaborate movement between minutes.
(Direktlink, via Laughing Squid)
Vor Jahren schrieb ich hier mal über eine Digital-Uhr von Humans since 1982, die aus mehreren alten Analog-Uhren zusammengesetzt wurde und als dann neu vereintes Ensemble die Uhrzeit richtig wiedergeben konnte. Dazu gab es damals nur ein Foto. Mittlerweile gibt es auch ein Video. Und man kann das Teil im MoMA-Store kaufen. Für „schlappe“ $5K.
Clock Clock 24 is a statement-making object that re-contextualizes time through an ingenious marriage of analog and digital. Twenty-four round clocks come together to create one giant digital display. The clock hands are choreographed, liberating the clocks from the sole purpose of telling time. Can be set for 12 or 24 hour time in three different modes: minimal, medium or elaborate movement between minutes.
(Direktlink, via Laughing Squid)
Logos from Hell is death metal illustrator/designer Mark Riddick's massive compendium of heavy metal band logos that he's gathered from across the globe. These are the sigils printed on foreboding LP jackets, scratched into school desks, scribbled onto notebooks, and inked into hesher arms the world over. From Wired:
As metal evolved into myriad subgenres, each more extreme than the last, wordmarks and branding evolved in step. “Logos just tend to get more and more extreme and as you branch out,” says Riddick. It’s reached the point that you can almost determine the style of music from the typography. Indeed, there might be no better example of typography’s multi-sensorial nature than extreme metal logos. Thrash metal bands like Metallica, Slayer, and Overkill adopted logos with straight, sharp edges to reflect the tight and controlled nature of the music. Death metal bands—which tend to focus on subjects like violence, religion, horror, and, yes, death—tend to incorporate those themes into logos that feature things like dripping blood, organs, severed limbs and skulls. The logos associated with black metal, which has its roots in deeply anti-Christian views, the occult and paganism, often are ornate, symmetrical, and derived from art nouveau’s swirling, rounded forms.
Logos from Hell is death metal illustrator/designer Mark Riddick's massive compendium of heavy metal band logos that he's gathered from across the globe. These are the sigils printed on foreboding LP jackets, scratched into school desks, scribbled onto notebooks, and inked into hesher arms the world over. From Wired:
As metal evolved into myriad subgenres, each more extreme than the last, wordmarks and branding evolved in step. “Logos just tend to get more and more extreme and as you branch out,” says Riddick. It’s reached the point that you can almost determine the style of music from the typography. Indeed, there might be no better example of typography’s multi-sensorial nature than extreme metal logos. Thrash metal bands like Metallica, Slayer, and Overkill adopted logos with straight, sharp edges to reflect the tight and controlled nature of the music. Death metal bands—which tend to focus on subjects like violence, religion, horror, and, yes, death—tend to incorporate those themes into logos that feature things like dripping blood, organs, severed limbs and skulls. The logos associated with black metal, which has its roots in deeply anti-Christian views, the occult and paganism, often are ornate, symmetrical, and derived from art nouveau’s swirling, rounded forms.
Damien Ludi und Colin Peillex haben an der Ecal in Lausanne einen Schaukelstuhl entworfen, der strickt wenn mit ihm geschaukelt wird. Endlich Mützen machen, ohne stricken zu können.
It offers its user productive moments of relaxation. The to-and-fro movement of this armchair knits hats for the winter and requires no exertion whatsoever.
(Direktlink, via MoGreens)
Es gibt ja immer noch genug Menschen, die sich wenig Gedanken darüber machen, was sie da eigentlich an Kalorien zu sich nehmen, wenn sie es essen. Der Instagram-Account Calorie Brands hat es sich zur Aufgabe gemacht, die etwas anderen Produktfotos darzustellen. Und schon hat man gar nicht mehr so viel Bock auf seine Lieblingsprodukte. Oder geht das dann nur mir so?
via Tyrosize
You just finished reading Kalorien statt Markennamen - Eine Idee! Consider leaving a comment!
Like Dressed Like Machines on Facebook - http://www.facebook.com/DressedLikeMachines
Zoe Quinn's awesome $21 "I'm the best graphic designer" tee has it all: linebreaks, Comic Sans, all caps, weird kerning... Just the thing to break the hearts of your designer pals!
Pascal Deville loves "beautiful atrocities"—websites that could be described as intentionally brutalist were they not mostly just ugh. Fast Company interviewed him on his love of rough design, strangely compelling as it is in the age of bloated, broken, but very pretty websites.
"I wouldn't call it a protest but a shout-out for more humanity in today's web design," Deville says. He views his site as a bastion for a segment of Internet culture of people who built scrappy websites themselves as opposed to using services with pre-canned templates like Squarespace. "Terms like UX and user friendly don't have a lot of soul or guts and treat everything like a product. They also killed a lot of the web culture, which seems to find a voice on Brutalistwebsites.com."
More from The Washington Post.
Intriguingly, Deville has found in his Q&As with coders and designers that few set out to mimic this newly popular aesthetic; instead, they all arrived at the same point out of a drive to create something original.
“[Brutalism] is interesting to me … because it doesn’t necessarily have a defined set of aesthetic signifiers,” said Jake Tobin, the designer behind trulybald.com. “What defines those signifiers is decided by the platform it’s built on.”
There is visualization in practice and there is visualization in theory and research. Each should inform the other, but it typically doesn’t happen that way. Kennedy Elliot, a graphics editor at the Washington Post, provides a rundown of one branch from the research side of things: human perception. There are quite a few studies.
Tags: perception