‘His most famous title sequences include the animated paper cut-out of a heroin addict’s arm for Preminger’s The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock’s North by Northwest, and the disjointed text that races together and apart in Psycho’
Last night, Google doodled this (above).
Last week in my history class, I presented footage of the original titles that Saul Bass designed that Google doodled this (above) was based on.
Dave Brubeck came along for the ride.
More info here.
Found via Alice Woodruff
As a side project, Irish graphic designers Mark Shanley and Paddy Treacy turned a bunch of client feedback (the bad kind) into a series of posters. They then put them up for sale and ended raising a bunch of money for charity.
Pictured, a few. More here.
Of course, the goal is always to work with clients that know shit. And are willing to go thru a creative process that leads to the best work imaginable. This usually involves understanding that good logos typically involve letterforms (I’ve heard poster #1 before).
‘So just as we change as we grow up and our bodies, opinions and tastes change. This is Time. This is Life. They are defined by Change. So Change is inevitable, its outside of need or necessity. It just Is.’
The images (and words) are from this wonderful post over at the Alias blog: Why new typefaces? Alias is run by David James and Gareth Hague.
In my opinion/experience, we’ll stop having a need for new typefaces right about the time we stop wanting new music, new food ideas (I’m hooked on detox water right now) and new ways of looking at how we dress ourselves.
Types have personality, just like humans. Take it all away and we become . . . Helvetica. On a Star Trek planet where we all look, think and dress alike.
Type is everywhere. And humans like to mess with shit.
Too many graphic design award competitions award people for being young and full of ideas. What about the rest of us who are OLDER than YOUNG and maybe filled with better ideas?
I think experience and wanting to keep doing NEW is worth something, no?
So you can now be AWESOME too. At any age. Go here.
Last week I attended TYPO in San Francisco and noticed that my notebook was full. No room for notes.
Typically if I go on a tweeeeting binge like this, I lose ‘followers’ and get bitched out a bit. Instead I ended up meeting some cool people from around the planet.
Sol Kawage lives in South Tyrol, a ‘german speaking region in northern Italy.’ Her tagline on her Twitter account states: ‘Annoying people since 1980.’
In 1998 I attended this over-the-top crazy creative conference in San Francisco.
It was called FUSE: Beyond Typography and it was a Neville Brody gig, named for his font magazine. The whole shebang overstuffed itself into San Francisco’s Masonic Center on Nob Hill. And what happened inside was really ‘beyond typography,’ in that the typophiles I knew were complaining where’s the type? It made sense. It was BEYOND.
It was many days. I think a week. Maybe a month, a year? I don’t remember. Nob Hill is up in the clouds, which was fitting. But what I do know is the speakers – which ranged from budding architects Zaha Hadid and Michael Sorkin to author Karrie Jacobs and a slide show from soon-to-pass-on Tibor Kalman – left me recharged about graphic design and what a real creative can do.
Then, turned out the week of FUSE Phil Hartman died.
2001 changed everything.
And the economic disaster that followed also put a lot of creative plans on hold. I quit my corporate job right after FUSE and moved on to more meaningful work, eventually landing in teaching. I kept doing the fun work, but bread-n-butter work started to take over. Survival became more important as creativity was pushed aside.
In 2007 I left my position as president of the Art Directors and Artists Club of Sacramento and from a distance, saw it shut down early 2012. BUT I did remember the spark of FUSE (which was a money-loser for the organizers) and kept side projects going. I started this very blog, released a few fonts. [Read more →]
Modern Dog recently created this poster for Sunday Rock, a music school in Yekaterinburg, Russia.
And I provided Robynne and Co. some quick Cyrillic type the old fashioned way: Scanned in from early 20th Century sources, pieced together letter by letter.
Four different scripts combined to have similar weight, rough edges, heavy caps. I’ve been doing a bunch of work this way lately – sometimes one has to go back to basics.
And on weathered days (like today) vinyl sounds better than digital.
I will be giving a talk on April 19 at American River College. Covered will be the history of the Bauhaus (1919-33).
And as an add-on, I’ll be subtly previewing how the Bauhaus, Futurism and early Modern Art has inspired my new educational project, FLomm: THE BATTLE For MODeRN 1923 (which already has a tumblr presence here and twitter here).
For additional information, please visit the Art New Media at American River College Facebook page here.