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Tag: design

Time-lapse book cover design

A two minute time-lapse video of a book cover being designed. Lauren Panepinto, the creative director of Orbit Books, lets you see the process behind creating the cover for Blameless by Gail Carriger. You can read Laura’s blog post about the video to glean a few more details about the process.

Over 6 hours of my onscreen compositing, retouching, color correction, type obsessing, all condensed down to a slim sexy one minute 55 seconds of cover design. Trust me, no one wants to watch it in real-time.

Lastly, design:related has a few more details about the cover, including one of the early comps from the series.

8 Faces magazine

8 Faces in the wild

My copy of Elliot Jay Stocks’ new magazine, 8 Faces, just arrived in the post this morning. I was lucky enough to snag a copy during the short period before it sold out. Given the nature of the online typography community, I had a feeling the limited print run would be snapped up in short order. There is still a pdf available for purchase if you’re interested.

The magazine is devoted to typography, asking eight leading designers which typefaces they would use if they were limited to just eight for the rest of their lifetime. It features interviews with Erik Spiekermann, Jessica Hische, Ian Coyle, Jason Santa Maria, Jos Buivenga, Jon Tan and Bruce Willen & Nolen Strals. It also features an introduction by John Boardley and artwork by Able Parris (available for download).

I’ve had the pdf sitting around for a couple weeks, but have avoided reading it, because I wanted to see the magazine in print first. Can’t say that I’m disappointed for waiting, there’s been a lot of care and effort put into it. Elliot has written an article about his experiences with getting it published. The magazine is gorgeous and I’m looking forward to sitting down and reading the entire thing.

Interface Overload

Derek Punsalan examines the interface choices available in a selection of washing machines, or as he puts it, not going into orbit, just looking for clean clothes. We’re a long way removed from the relative simplicity of the old machines, although one of their added features involved losing an arm. Innovation isn’t just about incremental improvements and greater safety, it means more features, more buttons and more blinky lights.

Interface Overload

The article reminded me of an exam question in a human-computer interaction course that I took years ago. We were asked to describe the best user interfaces that we had encountered. I chose to describe the space-heater in my room, it was great. The machine had one button, one switch and a few LEDs. You pressed the button to turn it on. The LEDs indicated the current temperature, and you pressed the button again to cycle through them. The switch on the base allowed the heater to rotate. After moving to an exceedingly hot top-floor apartment, I no longer needed the heater. So, I lent it to a friend’s housemate, who decided to dry clothes on the wee thing. It blew up. Although she was lacking in the brain department, the girl still has all of her limbs.

I’m still a fan of minimal hardware interfaces, with Apple handhelds being the obvious example. Another one of my favourites are the basic CrockPot models — one switch with three settings (off, high, low). Although, they’ve tried to muck things up with all manner of digital crap. But that’s progress.

On teaching design in Mozambique

From an interview with designer Barbara Alves about teaching in Mozambique.

For example, students in the graphic design course asked me to give them lessons in color, insisting they knew nothing about it. This really surprised me. My immediate answer was, “But you should teach me! You’re surrounded by color and use it in such powerful ways in every aspect of daily life. I admire you for it!” Their response was to laugh and say, “But Teacher! That’s not design! We need to use design colors.” From talking to my students and people in the cultural sector, I got the impression that design was this distant, quite artificial, field they had to adapt to.

Typographic purists

Mistakes in typography grate the purists from the NYT.

“I think sometimes that being overly type-sensitive is like an allergy,” said Michael Bierut, a partner in the Pentagram design group in New York. “My font nerdiness makes me have bad reactions to things that spoil otherwise pleasant moments.”

I’m not at the anaphylactic stage of typographic allergy yet — more the sniffly, dry and itchy eyes sort of thing.

Books in a digital world

Want to know why books will never go away? Read this blurb from the description of Code(x)+1.

The book is a durable artifact in which author, reader, and the artisans who make and preserve them enter into ordered and potentially pleasurable relationships. A printed book is enhanced by the materials and processes with which it is made. The book in the era of digital reproduction is an object of pleasure as well as a container of information. To consult information relieved of the pleasures of turning a page, smelling ink, or admiring the binding, we can rely on the internet. The book as ark of deposit requires neither electricity nor fossil fuel to either read or maintain. The book as an object dwells at the intersections of writing and art, philosophy and poetics, science and scholarship. The structure of a book is a sculpture for reading. The meaning is transmitted and the book remains.

The production run is limited to 500, anyone want to buy me a copy?