Check the other nine out at 10 Unusual and Creative Restaurants
Sunday, September 25, 2011
Unique Ambiance
Doing some brainstorming of unique restaurant experiences.
Check the other nine out at 10 Unusual and Creative Restaurants
Check the other nine out at 10 Unusual and Creative Restaurants
Sunday, September 11, 2011
A little psychedelic inspiration
Devendra, channelling Buddhism and simplicity of a seahorse. Good stuff man.
Saturday, September 10, 2011
Munchies
For our second excursion to find words in their natural habitat, Brenna and I decided to portray the herbal influence that generates a distinct need for tacos.
Our dried leaf weed looks pretty legit eh?
Our dried leaf weed looks pretty legit eh?
Tuesday, September 6, 2011
Design history what what
Dead and gone
Max Miedinger is most famous for creating the typeface Helvetica (Which I'm using right now! Fun stuff.) A swiss designer, he created a typeface that became the poster child for cutting edge Swiss design.
Robert Koch developed the typeface Wilhelm Klingspor Gotisch in Frankfurt after being inspired by fourteenth century manuscripts.
Claude Garamond was inspired by the roman cut by Francesco Griffito when he developed Hypnerotomachia Polophilius.
Ludovico Degli designed an initially italic Blado typeface which was later revived by Stanley Morison in 1923. These italics, called Arrighi italics, are seen as the first cursive typefaces in print.
Bram de Does's work can be seen on the pages of a Dutch dictionary. His typeface Lexicon no. 1 is a vertically compact form, maximizing legibility in tightly packed text.
In the land of the living
Hailing from South Africa, Margaret Calvert did much of her work after she moved to England. She designed many of the road signs used throughout Great Britain in addition to creating the typeface Transport for the British Rail System.
Hermann Zapf designed Optima in 1958, a piece in the Liontype collection which remains one of the top five highest selling typefaces in Linotype.
Tim Ahrens designed Linotype Aroma in 1999. The family now includes other variations, such as ExtraLight, Light and SemiBold.
Andreu Balius was inspired by old Catalan typefaces while designing Pradell and Trochut. For Pradell, Balius attempted to capture the style evoked by Audald Pradell's work.
Jonathan Barnbrook, an Englishman, began designing typefaces because of his belief that designers had significant influence on the image and the layout of design but had not power over the typeface. He published the typefaces Exocet and Mason with a questioning mind, drawing influence from a likeminded thinker, Eric Gill, whose social awareness led him to dare defy 'unquestionable' things.
Max Miedinger is most famous for creating the typeface Helvetica (Which I'm using right now! Fun stuff.) A swiss designer, he created a typeface that became the poster child for cutting edge Swiss design.
Robert Koch developed the typeface Wilhelm Klingspor Gotisch in Frankfurt after being inspired by fourteenth century manuscripts.
Claude Garamond was inspired by the roman cut by Francesco Griffito when he developed Hypnerotomachia Polophilius.
Ludovico Degli designed an initially italic Blado typeface which was later revived by Stanley Morison in 1923. These italics, called Arrighi italics, are seen as the first cursive typefaces in print.
Bram de Does's work can be seen on the pages of a Dutch dictionary. His typeface Lexicon no. 1 is a vertically compact form, maximizing legibility in tightly packed text.
In the land of the living
Hailing from South Africa, Margaret Calvert did much of her work after she moved to England. She designed many of the road signs used throughout Great Britain in addition to creating the typeface Transport for the British Rail System.
Hermann Zapf designed Optima in 1958, a piece in the Liontype collection which remains one of the top five highest selling typefaces in Linotype.
Tim Ahrens designed Linotype Aroma in 1999. The family now includes other variations, such as ExtraLight, Light and SemiBold.
Andreu Balius was inspired by old Catalan typefaces while designing Pradell and Trochut. For Pradell, Balius attempted to capture the style evoked by Audald Pradell's work.
Jonathan Barnbrook, an Englishman, began designing typefaces because of his belief that designers had significant influence on the image and the layout of design but had not power over the typeface. He published the typefaces Exocet and Mason with a questioning mind, drawing influence from a likeminded thinker, Eric Gill, whose social awareness led him to dare defy 'unquestionable' things.
The typeface of the Univers
"I first experienced the power of type to make the whole intellectual world readable with the same letters in the days of metal." Adrian Frutiger, born to a weaver in Unterseen, Switzerland, changed the face of type with his unique perpective. Never quite accepting what he was told, he constantly experimented with new ways of looking at the world, namely type faces. He began his work young as an apprentice for a printer at sixteen, but soon found his niche in calligraphy.
His love of sculpture, though discouraged by teachers and his father, continued to influence his type forms.
His persistance in creativity and confidence in his own talent laid the foundation for brilliance, and a new type face. "When we came to the 'Grotesk' style of sans-serif, however, I had my own ideas which led to the Univers family."
Univers was appreciated instantly. Rejecting the regimented form of Futura, Frutiger drew inspiration from the neo-grotesque model. With the new typeface also came a new classification system to indicate weight, width and style.
His love of sculpture, though discouraged by teachers and his father, continued to influence his type forms.
His persistance in creativity and confidence in his own talent laid the foundation for brilliance, and a new type face. "When we came to the 'Grotesk' style of sans-serif, however, I had my own ideas which led to the Univers family."
Univers was appreciated instantly. Rejecting the regimented form of Futura, Frutiger drew inspiration from the neo-grotesque model. With the new typeface also came a new classification system to indicate weight, width and style.
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