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A key element in any design is how the designer uses lines to direct the user's eye around. So here's my contribution to the "Design is..." series.
If you want a larger size, email me at jayred at gmail dot com
For standard aspect ratio, see the following link: www.flickr.com/photos/38101490@N00/339284062/
Poster designed by Eric Cai Design Co. for the Nanjing Massacre Memorial.
Image from Graphis Poster Annual 2007, creative director, B. Martin Pederson, published by Graphis Inc.
At Red 7 Design, we try to make the entire project pleasing to the eye, including how we ship something out the door. Thus, we show you the insides of our Shipper - letters, business card, label and CD - all design coordinated.
Catalogue, guide and ticket of fair Design Miami / Basel 2009 designed by London office Madethought.
I designed this traditional kitchen with clean simple lines and a taseful amont of ornamentation. The goal was to create a timeless modern country look.
There seems to be a zillion packets of seeds lying around in our house and shed. None of them particularly nice looking. So, I’ve designed my own.
Copyright Vicki Munro June 2011
Photograph from Vignelli: From A to Z, written by Massimo Vignelli, published by Images Publishing Group Pty Ltd.
In 1977 Vignelli was approached by Vincent Gleason, then Director of Publications for the U.S. National Parks Administration, who asked the Vignelli team to design a system for their publications. I'll give a quote from the book.
"This is probably on of the most extensive design programs ever undertaken by a government agency, and one with great exposure to the public. There are more than 300 million visitors per year, and every one of them receives a map or buys a publication. Although publications were one well before our program, there was no identity, while a variety of formats resulted in greater costs."
While working on another KUKUBURI character (Morvo), I came up with this cute little guy. He seemed so happy that I just had to name him Warai (laughter in Japanese).
UPDATE: Jo Nakashima has made a video showing how to fold this model.
After serving in the German army during WWI, Herbert Bayer (born 1900 in Austria) enrolled in an arts and crafts studio, then worked for a designer. In 1921 he studied at the Weimar Bauhaus and then taught there, starting in 1925, teaching typography & advertising effects. Bayer then worked full-time for advertising agency Dorland International and as art director for Vogue magazine.
In 1938 Bayer emigrated to the US and worked in New York until 1946 for such clients as Dorland International, Thompson, Wanamaker's, and developing exhibitions and general graphic design for large corporations.
In 1946 He moved to Aspen, Colorado and continued as consultant to firms such as Container Corporation of America.
Design taken from Radford's Portfolio of Plans, from the Radford Architectural Company of Chicago. Copyright 1909.
I photographed this sophisticated, modern bedroom in one of Helsinki's (Finland) oldest art nouveau era buildings
For more see my blog:http://inspireyourlifestyle.wordpress.com/
The University of Salford's Art & Design shows kicked off with a preview that marks the start of eight days of the best of new creative talent.
Graduating students from courses as diverse as Computer & Video Games and Advertising Design, will exhibit their final pieces of work - hoping to attract the attention of industry professionals.
Here is the plan for a bat house that I designed. I built two of them and placed them at a nearby wildlife refuge (with the blessing of the refuge manager).
Design features:
- The top and front are made from slate floor tiles ($2 each at Home Depot). There are several reasons for using slate (vs. wood):
- It requires no maintenance (painting). It is already the right color for our area (dark) and does not need paint for weather protection.
- It warms quickly in sunlight, warming the house in the morning.
- It provides thermal mass, holding heat into the night.
- The landing pad is covered with a flattened piece of bark. Bark looks natural, and provides the roughness that the bats need for landing. After gluing the bark to the landing pad, I gave it several coats of exterior varnish to make it last longer.
- The design incorporates two ventilation features:
- A vent between the two front slates. This allows for some air circulation which the bats need on hot days. This is a fairly standard feature in recent bat house designs.
- A vent just under the slate roof. Air is drawn through a small gap between the rigid insulation and the upper front slate, and exits through five screened holes drilled in the back, very near the top of the house. This allows some air flow at the front crevice, even at the top of the crevice, and at the bottom of the nursery area. It also allows air flow under the roof slate, mimicking a slate roof. I am not an expert on slate roofs but I know most roof undersides need to allow for airflow to avoid water condensation on the underside of the roof.
- Some of the partitions are slanted because there is some research in our area showing that our bat species prefer a wedge-shape instead of an entirely vertical partition.
- The rigid insulation holds heat in the house from below, and reduces heat coming down from the roof on sunny days. This makes the bat house temperature more stable, and warmer at night, which most bats prefer.
- The design includes an "attic nursery", designed to meet the needs of mother bats with newborns. The mothers and pups like a temperature of around 90-100 degrees. The sloped attic floor should be a litte more forgiving for clumsy infants, vs. a vertical surface which if they lose their grip would drop them to the ground where they would be helpless and die. The down side of a non-vertical surface is that guano may accumulate here. But it does have some slope and guano is light, so most of it should get knocked out and fall to the ground. But we'll have to see what happens.
- I glued rough material (bark in one house, sisal rope in the other) to the roof of the attic so the bats could hang from the ceiling of the nursery area. The rope turned out to be a bad idea, though I did eventually get it to work. A piece of pet netting would work fine.
- I opted to extend one partition below the bottom of the house. This was mainly due to the dimensions of the wainscoting (which is 3.5" wide) - I did not want to have to rip any of it. But I also wanted to see if the bats would use this partition for landing and taking off.
- I melted wax onto the entire outer wood surfaces, for the following reasons:
- No maintenance. Wax never needs to be painted. The wax will dry out eventually, but that will take at least 15 years I would guess.
- As it weathers, the wax darkens the wood, to the color that is appropriate for our climate.
- The weathered wax finish will blend in well with the dead trees upon which the houses are mounted.
- On really hot days the wax melts, flowing into every little crack and knot in the wood. Any excess wax just drips off.
- Most waterproofing finishes are a form of dissolved wax, so when you put a waterproofer on your deck you are really just putting down mainly dissolved wax. I have experimented with melting wax directly into cedar, and have had good results (though it is very labor intensive). To get the same amount of wax into the wood with a waterproofing seal, I would have to put on many, many coats. Also this wax would not reflow on hot days, and waterproofer really only lasts about a year.
The total material cost for this house is a little over $20. The only special tool required was a tile saw to cut 45 degree bevels on the slates, but those are not completely necessary.
If I build more of these I think I will flatten the slope of the roof a bit so I can fit in one more partition. The front partition gap is a little bigger than I like (1.15").
The window with the Coronation of the Virgin was donated around 1509 by count Philipp II of Virneburg (ca. 1450-1522/1525), who is depicted together with his deceased wives Johanna van Horne and Walpurgis von Solms-Lich, and St. George.
Philipp wears smooth armour without flutings, which was highly common in German lands during the first two decades of the 16th century, just before the Maximilian style became more prevalent in some regions.
There could also be a Netherlandish influence regarding Cologne's proximity to the area.
Do note that some parts of the armour seem to be a product of the 19th century restoration: the large tassets of Philipp's armour are not attached to his fauld but are worn under it. Maybe a mistake, or simply a strange original?
St. George is shown in a contemporary armour (note the decorated breast with the red cross) with some fanciful details, e.g. the shoulders, rerebraces and the rather strangely decorated jerkin. The couters, gloves and sword also seem to be a result of those later restorations.
In my humble opinion many parts of this window are honestly not that authentic anymore.
El stand y toda la imágen gráfica fue diseñada y elaborada por mi hija Eva, el árbol está ejecutado en tuberÃa de plástico en el cual colgamos todas las pulseras. The Stand and all the graphics were designed by my daughter Eva, the tree is made with plastic pipes, with all the identations and holes to support the bracelets.
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Design-thinking workshops presented by Puget Sound SIGCHI and IxDA Seattle for the 2012 Seattle Design Festival.
Featuring presenters:
Nikki Pfarr with Waste Not!
Ming-li Chai with Designing for the Future
Joyce Chou with Sensory Deprivation for Breakthrough Innovation
Sponsored by POP