Sarah Harvey est une artiste vivant à Londres. Elle parvient avec talent à reproduire dans ses peintures les mouvements de l’eau, ainsi que les jeux de couleurs pour arriver à un rendu impressionnant. Une sélection de ses différentes oeuvres est à découvrir dans la suite.
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MoOi are hifi loudspeakers made from porcelain, designed to enhance audioquality in livingrooms. It´s spherical shape and the porcelain as mater..
Wylie Dufresne has concocted an edible eggshell. These shells are actually constructed from edible clay by blending it with water, lactose, and brown-butter solids. The next step requires balloons. The balloons are dipped into the clay batter, skewered upright into florist foam, and the shells left to dry overnight. At service, the balloons are popped and removed, and the shells artfully cracked for plating with a six-minute egg, a smear of Caesar dressing, and Moishe’s pumpernickel toast.
I cant wait to try this!
From post-apocalyptic imagery to pop culture references, two painters explore a single theme
When close friends Casey Diebold and Adam Devarney both graduated from Pratt University their journeys as artists naturally took them to very different places. Devarney returned to the serenity of his native Burlington, VT, while Diebold stayed in Brooklyn to work as a commercial storyboard artist. Their diverging paths have finally crossed again in the form of “Godspeed,” a collaborative exhibition opening 9 April 2010 at NYC’s Sacred Gallery.
The loose concept comes from Devarney’s suggestion of the phrase “God Speed”—a term that allows for their their work to be comfortably contained under one main theme, as well as individual interpretations. While Diebold played off the term more literally, depicting ungodly speeds and high-powered action, Devarney saw “Godspeed” as the loose English translation of the French salutation, bon voyage.
Heavily influenced by skateboard culture and ’80s illustration, Devarney’s work mixes mediums, styles and aesthetics. “I am excited by the idea of taking things out of context and re-purposing them, the chemistry interests me,” he explains. Working with wood panels, Devarney explores voyaging characters on the brink of self-destruction. His paintings follow the “vagabonds of the great beyond,” who are fighting the inertia of their movement.
The past might inform the resulting anachronistic portraits, but they’re firmly in the future. Delvarney says, “my work in this show comes from a soulful place. I am exploring characters, weary and worn down, voyagers who have been pushed to the limit. That is something everyone can relate to.” While Devarney’s stoic aviators put the viewer on edge, Diebold captures cinematic realism in incredible detail at frightening speeds.
Diebold creates surreal graphics with dizzying movement and beautiful texture, an approach he says is informed by his “fascination with future dystopian culture and science fiction like ‘Logan’s Run,’ or fictional gang movies like ‘The Warriors.'” His love of films shows in the multiple layers of allusion in his work, from Alex Cox
to George Miller. His choice to depict the action at a particular moment in the narrative forces viewers to think of the infinite possibilities, creating a dreamlike effect.
“Godspeed” opens at Sacred Gallery this Saturday, 9 April 2010, and runs through 30 April 2010.
Fourth-year architecture student Sam Levin and his coursemates in Ammar Eloueini’s Digital Fabrication class have spent the semester working on “Danaus,” an anamorphic installation. The illusory geometric shape belies a “complex transitional form,” where the surface transforms across a wall, growing increasingly porous and complex. Similarly, the structure gradually becomes thicker, or rather deeper, as well, until it finally becomes a functional 10″-deep bookshelf.
But don’t just take my word for it, check out the video:
Our current issue features CR’s top 20 logos of all time. The Woolmark is our number one, but mystery surrounds the identity of its designer
In 1963, the International Wool Secretariat, now called Australian Wool Innovation (AWI) announced a global design competition to create a graphic identity for wool “which would hold consumer confidence and represent quality standards”, to be used internationally. The resultant logo sits proudly at number one in our Top 20 logos, as featured in our April issue.
Seemingly inspired by a skein of wool, the winning design, known as the Woolmark, was launched in 1964 in Britain, US, Japan, Germany, Holland and Belgium, and is now recognised the world over. But who designed it?
Officially the Woolmark is credited to an Italian designer hailing from Milan called Francesco Saroglia. He won the competition, a fact documented by numerous sources. But we don’t know anything else about the man. There are no books featuring his work (at least none we or the leading Italian designers we contacted have been able to find), no record of any exhibitions, not even any web pages featuring any other work by Saroglia or, indeed, anything about him at all. How could the designer of one of the most famous logos of all time have left no trace of his wider practice?
Is this Francesco Saroglia?
Was the Woolmark’s designer not, in fact, Saroglia at all but Franco Grignani, a leading designer of the time whose body of work included many op art inspired images in black and white?
Ad by Grignani for Alfieri & Lacroix, a Milan-based typo-lithographers
In our April issue, Gavin Lucas examines the evidence and the competing claims regarding the logo’s authorship. Did Grignani enter it into the competition under an assumed name? Was his work stolen by another? The likes of Ben Bos, Massimo Vignelli and Leonardo Sonnoli all contribute their theories to a fascinating piece (which subscribers can read here).
The AWI credits Saroglia as the logo’s author and there is no suggestion of wrongdoing by them, but we may never know the whole truth. An image from Grignani’s diary with various sketches for the Woolmark including something very like the final version (featured in the issue) would appear to be the smoking gun, but we can’t be sure it is proof of his authorship. One thing is certain, however. The creator of the Woolmark not only left behind a cracking logo, but also a great graphic mystery.
If you would like to buy this issue, simply call +44(0)207 292 3703. Issues cost £5.90 including P&P for the UK.
Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine. Online only subs are also available, for just £40.
If you drive in Washington, D.C., you very likely listen to WTOP radio. Every 10 minutes, on the eights (:08, :18, :28, etc.), WTOP reports traffic conditions and then the weather. In between the traffic and weather reports flows a steady stream of award-winning local and national news coverage.
Neal Augenstein, a WTOP reporter who covers everything from hard news to fun feature pieces, has recently been outed by the station as being “… the first major market radio reporter who does most of his field production on an iPhone.”
In an article for PBS’s digital media blog MediaShift, Augenstein explains in detail how he ditched his old equipment and made the switch to using an iPhone 4 for his field work.
With the VC Audio Pro app from VeriCorder, I can quickly pull cuts, edit and assemble audio wraps, and adjust volumes on a three-track screen similar to the popular Adobe Audition used in many newsrooms. The amount of time saved by not having to boot up the laptop and transfer audio has been my single greatest workflow improvement.
He also gives specifics for how he captures audio, video, and images, and how he broadcasts them from his phone.
He admits the setup isn’t perfect — claiming the sound quality of his field reports is just “92% as good as when I use bulky broadcast equipment” — but that there are amazing benefits to being uncluttered, incredibly portable, and always able to record.
(via The Unofficial Apple Weblog)
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Footwear Designer
Lacoste
London, UK
Lacoste is looking for an experienced footwear designer to work with the product director of the L!VE/LED footwear collection, which forms the foundation of Lacoste’s Trend and Collaboration categories. Responsible for designing and developing a series of focused, comprehensive and commercial footwear ranges each season from a given brief within a set timescale. Following product through all stages from concept to sales samples.
The best design jobs and portfolios hang out at Coroflot.
 | The 2011 Country Music Award were held in Las Vegas, NV this past weekend and true to Country Star form, the red carpet was a bevy of embellished gowns, flowing big hair and celebs adorned in dripping jewels. We’ve got our three favorite country gals lined up and while they all looked like a million buckaroos, we’re asking – Who do you think looked the best? We love the intricate lace detailing on Taylor Swift’s pale yellow gown. A sweeping train and her signature long, wavy locks paired with red lips and drop earrings added to the drama. Model Brooklyn Decker kept it simple and young in a form fitting, dusty rose sheath dress with asymmetrical neckline. Matching shoes and nails and no accessories let her new short ‘do steal the spotlight! Country singin’ queen, Carrie Underwood looked like royalty in a deep violet, flowing gown with sparkling embellishments. Lustrous blonde waves and statement jewelry stepped up the glam factor even more. Let us know who gets your vote by taking the poll below!
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