Thursday, August 15, 2013

info-graphic.


A CIRCULAR SUBWAY MAP?

Filed Under: Inspiration, mapping
NY_Circles_Subway_Map_Max Roberts

In December 2012, the final section of London’s new inner suburban circular railway opened, and a number of designers proposed maps using concentric circles in order to emphasize the new orbital connections. Unfortunately, these generally grafted circles onto standard schematic map rules: horizontal and vertical straight lines, and 45-degree diagonals. From the point of view of a circle, there is nothing special about these angles, and the results generally suffered from having elements that related to each other poorly.
The most effective way to relate concentric circles to straight lines is to use spokes and tangents. Thus was born my “Circles Tube Map,” which immediately went viral on the internet. Many found the concept too alien, but others were mesmerized by its unearthly charm, totally unlike any Underground map seen before.
I had intended “Circles Tube Map” as a playful exploration rather than an improvement in usability, but the positive response caused me to rethink. The design lost points for simplicity—its lines twisting and turning with many unavoidable corners—but the payback was a massive gain in coherence; the way in which the elements of a map holistically relate to each other, ideally giving the result clear shape.
New York is the ninth destination in my world tour of circles maps. This should not even have been attempted: How can a grid city with no real orbital component to its rail network be remotely compatible with these design rules? The surprise is that, having identified a suitable point of origin, and apart from a few awkward locations, the map falls into place neatly. People may object to its aesthetics, and geographical purists will dislike it in the same way that they distrust all highly schematized designs, but its overall power is harder to dispute—the result of forcing the New York subway into an unprecedented level of organization. Usability studies will commence later this year.

Tuesday, March 26, 2013

Project Due


3.28 (TH)
- real show application form & fees ($10.00 for each: cash or check)
- display board 11x17: electronic file
- Final print: 8.25x10.875inch (cover and spreads)
- Bring Project 1 printed final (letterhead, envelope, folder, business card)

4.02 (T)
- Process Book: finished 50%
- Final Spreads: InDesign Package & PDF
- display board 11x17: Print
- Bring Black illustration board & Spray:
  - Project 2: 30x36inch
  - Project 1: undecided

4.04 (TH)
- Process Book Due: InDesign Package & PDF

Saturday, February 23, 2013

Elegantissima by Louse Fili



http://www.louisefili.com/about/

http://www.louisefili.com/news/

http://www.louisefili.com/logos/good-housekeeping/

http://www.louisefili.com/case-studies/before-after/

Thursday, February 21, 2013

Identity Design

http://dl.dropbox.com/u/740374/VCAMpresentation.pdf

Tuesday, February 19, 2013

Book: Letter Fountain



http://www.letterfountain.com/classification.html

"Even as publishing marches into the Kindle’s cold clutches, publishers are exploring the unique qualities of print. TASCHEN’s Letter Fountain is a gorgeous, borderline excessive celebration of the many riches of typography."
— Time Out Chicago, Chicago, United States


Upper- and Lowercase Numbers


p1 submission


  1. Identity Manual
    1. pdf
    2. InDesign Package Folder
  2. Logo Display
    1. print on 11x17" with color
    2. pdf
  3. Presentation Board 
    1. print on 20x30", landscape
    2. pdf 
    3. InDesign Package Folder
  4. Stationery (with original files)
    1. Letter
    2. Envelope
    3. business card
    4. folder

Sunday, February 10, 2013

Letterpress & Offset Beauty



A short film about letterpress and one of the few remaining movable-type printing workshops in the UK, situated at Plymouth University, featuring Paul Collier. plymouth.ac.uk
Subtitles available here: goo.gl/iuaKY
A film by Danny Cooke dannycooke.co.uk
Soundtrack by Tony Higgins tonyhiggins.org
(Available to download here: goo.gl/exGL1)


Production of Raven’s Wing, the fall edition of COLORS limited-edition Field Notes notebooks. Incredible footage.
More info at fieldnotesbrand.com/ravens-wing/


Bleisatz Werkstatt Tutorial, a brilliant film based on a seminar from The University of Applied Sciences in Düsseldorf called “Hot Type – Hand and Work.”
Video Production: Lukas Loss & Roman Tönjes
Sound Design: Roman Tönjes
Via Coudal.
Source from TypeforYou.org

Tuesday, February 5, 2013

MIT Media Lab


MIT Media Lab Identity

The new visual identity of the MIT Media Lab is inspired by the community it comprises: Highly creative people from all kinds of backgrounds come together, inspire each other and collaboratively develop a vision of the future.
This unique offering of the MIT Media Lab is reflected in the logo design. Each of the three shapes stands for one individual's contribution, the resulting shape represents the outcome of this process: A constant redefinition of what media and technology means today.
The logo is based on a visual system, an algorithm that produces a unique logo for each person, for faculty, staff and students. Each person can claim and own an individual shape and can use it on their business card a personal website. The design encompasses all collateral, business cards, letterhead, website, animations, signage etc. A custom web interface was developed to allow each person at the Media Lab to choose and claim an own individual logo for his/her business card, as well as a custom animation software which allows to create custom animations for any video content the lab produces.
–
Collaboration with TheGreenEyl
Creative Direction & Design: Richard The, E Roon Kang
Programming & Design: Willy Sengewald 
MIT Media Lab Identity
MIT Media Lab Identity
MIT Media Lab Identity
MIT Media Lab Identity
MIT Media Lab Identity
MIT Media Lab Identity
MIT Media Lab Identity
MIT Media Lab Identity