Tag Archive for Design

CATEGORY: The Fox Is Black Sean Freeman, Master of Typography

Sean Freeman

Sean Freeman

Sean Freeman

Sean Freeman

Sean Freeman

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I came across London based creative Sean Freeman the other day and I can’t stop staring at. There are few designers/creatives/whatever who really are pushing the boundaries of art and design, who aren’t rehashing old ideas. It’s hard to strike out on an unfamiliar path, but I feel like Mr. Freeman is doing some really incredible work, along the lines of Michael Cina or Neil Kellerhouse. This is some next level typography in action, I would nearly consider some of his work fine art, it’s that masterfully done. It’s funny because I ended up picking out mostly black and white pieces, I think it’s because there’s so much contrast in these images that they really pop out to me.

You can see more of his work by clicking here.

Bobby

CATEGORY: The Fox Is Black Awesome Monster Illustrations by Calum Alexander Watt

Awesome Monster Illustrations by Calum Alexander Watt

Awesome Monster Illustrations by Calum Alexander Watt

Awesome Monster Illustrations by Calum Alexander Watt

Awesome Monster Illustrations by Calum Alexander Watt

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I randomly came across the work of Calum Alexander Watt, an illustrator with some immense talent and super creative imagination. I fell in love with his work because of how futuristic it is, creating all sorts of interesting concepts. The images above are from some sort of Disney show or something, I’m honestly not sure (disclaimer: I work for Disney, that has nothing to do with this). I think the idea is like Pokemon except with giant, monster looking characters. I love the range and diversity he’s come up with, the lighthouse creature above at top is my absolute favorite. How cool would it be to have a giant lighthouse friend? Defintely check out the rest of his work as well, this guy is crazy talented.

Bobby

CATEGORY: The Fox Is Black Snøhetta’s Norwegian Wild Reindeer Centre Pavilion

Snøhetta's Norwegian Wild Reindeer Centre Pavilion

Snøhetta's Norwegian Wild Reindeer Centre Pavilion

Snøhetta's Norwegian Wild Reindeer Centre Pavilion

Snøhetta's Norwegian Wild Reindeer Centre Pavilion

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The folks at Snøhetta are always up to something interesting, whether it’s a gigantic opera house or simply a place to watch the reindeer pass by. Located in the Dovrefjell-Sunndalsfjella National Park in Norway, this small pavilion beautifully frames the idyllic mountain view. I think the best part has to be the materials themselves, these giant wooden beams that have been sculpted to look like natural rock formations. The formations curve around to the inside of the structure and act as tiered seating, a perfect place to take in the view. What’s also kind of interesting though is that if you look at the structure from the other side it’s a super minimal glass box, which is also beautiful, but it feels like the exact opposite of the front of the pavilion.

… (Read more…)

You can see more photos and get more info by visitng designboom.

Bobby

CATEGORY: Zeutch Cloister Bench

Un banc à l’allure surprenante que l’on doit au designer Fabien Capello.

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CATEGORY: The Fox Is Black Make The Logo Bigger: How Designers Are Winning The Age Old Battle

Turner Duckworth's design for Diet Coke

Target Branding by Allan Peters

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Earlier this morning I read a tweet from Evan Stremke commenting on this great branding initiative for Target by Allan Peters (which you can see above). The extreme scale of the logo is possible because of the universal knowledge of the Target brand, that no matter what size it still reads as an ad for Target. The branding made me think of another recent rebrand by Turner Duckworth for Diet Coke in which he blew up the logo and placed it on the can. Yet again it’s a testament to the brand itself, that no matter the scale the logo works because of the colors and shapes of the logo.

Overall though I thought it was funny a trend happening, that the age old complaint of designers is that we always have to make the logo bigger, but here we are doing it on purpose. I might be reading too much into this or we may start seeing it more and more, but designers have taken hold of the reins and are exaggerating the size of the logo to a gigantic scale. I know this has been done in the past, but I thought it was interesting to compare the two.

Are there any other good examples of this that you can think of, recent or historical?

Bobby

CATEGORY: The Fox Is Black Justin Mezell, Winner of Re-Covered Books: ‘Do Androids Dream of Electric Sheep?’

Justin Mezell, Winner of Re-Covered Books: 'Do Androids Dream of Electric Sheep?'

I’ve been really excited and proud by the outpouring of amazing entries for the Re-Covered Books contest featuring Do Androids Dream of Electric Sheep. I need to give a huge thanks to the mant talented artists, designers and creatives that decided to enter into the contest. That said, there can only be one winner, and that honor goes to Justin Mezell.

I was most impressed with Justin’s work because of the unique look and style of his entry. At the bottom there’s what looks like to me like one of the androids eyes, and wired up to that is a tiny core that contains a little sheep. Okay, I think it could have possibly been better without the inclusion sheep, but at least it was tastefully done. I also felt like the color combination of orange, blue, charcoal and creme were well picked and complimented each other nicely. The other big factor that really works for me was Justin’s consideration of the typography for the title. There were a lot of entries that didn’t really do a great job on the type, that was a deal breaker for me, but his use of Univers was a nice change from all the Futura. Not hating on Futura, but in a field of a whole lot of Futura, this stands out quite a bit. Justin did a great job of thinking his entry all the way through, and I think he’s totally deserving of being a winner.

Yet again, a big thanks to Justin and all the other creatives who entered. I’ll be sure to announce the next Re-Covered Books contest next week, so be sure to get ready. If you have any suggestions feel free to leave them in the comments section.

Bobby

CATEGORY: Zeutch Möbius-Eness

Möbius est une sculpture faîte de 21 triangles qui peuvent être configurés selon des patterns cycliques. Le studio de design australien Eness nous offre une démonstration de sa création à travers les rues de Melbourne. La vidéo est à découvrir dans la suite, avec en bonus le making-of…

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MÖBIUS from ENESS on Vimeo.

Making of MÖBIUS from ENESS on Vimeo.

CATEGORY: Zeutch Type Fluid by Skyrill Studio

Explorer les fluides pour en faire une typo… Ok, c’est pas une première, mais cette fois ci le Studio Skyrill nous propose la série complète ‘Type Fluid‘ avec en bonus 4 clips. La série complète sur leur blog.

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Type Fluid Experiment « A » from Skyrill.com on Vimeo.

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Type Fluid Experiment « S » from Skyrill.com on Vimeo.

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Type Fluid Experiment « Z » from Skyrill.com on Vimeo.

Type Fluid Experiment « R » from Skyrill.com on Vimeo.

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CATEGORY: The Fox Is Black A History of the Title Sequence

Jurjen Versteeg's A History of the Title Sequence

Jurjen Versteeg's A History of the Title Sequence

Sometimes, my favorite part of a movie is the title sequence. In this instance we have a very clever title sequence for a movie that doesn’t really exist: a documentary about the history of the title sequence. Directed and edited by Jurjen Versteeg, A History of the Title Sequence pays homage to the influential designers that have changed how important the titles are, and how they can contribute to developing a story. From an interview with Versteeg:

“It seems like the film industry needed fifty years to realise the importance and effect of a good title sequence. The fact that the curtains in most cinemas were closed during the title sequence, signifies how much of an underestimated medium it was. Then you start to realize the impact that designers such as Saul Bass have had. Seeing his work in this context made me appreciate his titles even more.”

It seems bizarre to me that titles used to play behind closed curtains, because it snubs more than just the early illustrators who lettered the titles, it ignores everyone in those titles that actually made the movie possible. Ok, a lot of those folks are in the closing credits nowadays, but the title sequence has really become integral in some instances; setting the scene, the mood or the tone for what we’re about to see. I don’t always remember bad ones, but the good ones certainly stand out.

Alex

CATEGORY: Zeutch Tomasz Pydo

Une lampe au design assez simple et sobre, qui fait dans l’ élégance. Elle a été conçue par Tomasz Pydo et exposée à l’édition 2011 de Make Me en Pologne.

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