Zwolf has combined minimal beats and a glitchy bass to great effect in this gentle electronica remix of This Fortune, a track by Cardiff-based experimental rock band Islet.
You can listen to the original track here if you prefer a more hardcore start to your week.
About Dezeen Music Project | More tracks | Submit your track
Dezeen Watch Store: we’re clearing space for our summer collection and Dezeen Watch Store is having a spring sale! Save 20% on many great watches including Jak by Karim Rashid for Alessi and An Alarm by Industrial Facility (below). Read on for more details or visit the sale:
An Alarm by UK designers Industrial Facility is an alarm clock that alerts you by subtly vibrating on your wrist. Was £252.00, now £201.60. Buy now and save 20% »
Top image: Jak by Karim Rashid for Alessi was £84.00, now £67.20. Buy now and save 20% »
Mutewatch is a discreet but sophisticated alarm watch. Stroking the touch-sensitive face activates the clock, alarm and timer functions. Available in red and grey. Was £199.00, now £159.20. Buy now and save 20% »
VOID is one of our best-selling brands and you can now get 20% off the polished finish version of both the anologue V02 (above) or the digital V01. Buy now and save 20% on V01 polished or V02 polished »
The PXR-6 digital watch by Hong Kong-based British designer Michael Young comes with a stainless steel face and an adjustable woven strap. Available in six finishes including black (above), chrome and brushed. Was £95.00, now £76.00. Buy now and save 20% »
Skew is a wrist watch by Ross McBride designed so that the face can be rotated to view the display at different angles. Was £197.00, now £157.60. Buy now and save 20% »
LunaTik is a kit designed by Scott Wilson of Chicago studio Minimal that converts the Apple iPod Nano into a multi-touch watch. Was £70.00 – £90.00, now £56.00 – £72.00. Buy now and save 20% »
Deckster by Canadian design brand N-Product is another watch strap designed to house an Apple iPod Nano, transforming it into a touch screen timepiece. Was £155.00, now £124.00. Buy now and save 20% »
Lance Wyman at the launch of his show, You Are Here, at The Gallery at NUCA. Photo: Finola Gaynor
Remember when the Olympics produced great graphic design? Norwich University College of the Arts is hosting an exhibition of the work of US designer Lance Wyman which includes his Mexico 1968 logotype and other examples of the Olympic graphics programme Wyman worked on
In 1966, the US designer Lance Wyman moved to Mexico City to work on the graphic design programme for the 1968 Olympics. Under the direction of head of the organising committee Pedro Ramírez Vásquez, Wyman developed the Op Art-influenced logotype for the games that has become one of the most revered Olympics logos ever produced.
The logotype has pride of place at You Are Here, a show of Wyman’s work curated by Finola Gaynor at The Gallery at Norwich University College of the Arts. As well as the logotype, Wyman developed the application of the 68 Games’ graphic language into sports pictograms (above), icons for cultural events and services and was part of a team that created one of the strongest Olympic graphics programmes ever devised, referencing pre-Hispanic design and Mexican folk art alongside its more modern touch points.
Guests at the You Are Here launch pore over CR’s feature on Wyman from June 2006.
After the Olympics finished, Wyman and his wife, who also worked on the Olympics programme, stayed on in Mexico until 1971. There Wyman created a variety of influential work including a logo and signage system for the Mexico City subway, the 1970 World Cup and the MARCO museum in Monterrey (which can be seen on Wyman’s website).
Lance Wyman started his own studio, in New York City, in 1980 where his work has included identities for the Minnesota Zoo, wayfinding for the city of Calgary and the Papalote Children’s Museum in Mexico City.
You Are Here is on until June 9. Admission is free. Details here
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print
The May issue of Creative Review is the biggest in our 32-year history, with over 200 pages of great content. This speial double issue contains all the selected work for this year’s Annual, our juried showcase of the finest work of the past 12 months. In addition, the May issue contains features on the enduring appeal of John Berger’s Ways of Seeing, a fantastic interview with the irrepressible George Lois, Rick Poynor on the V&A’s British Design show, a preview of the controversial new Stedelijk Museum identity and a report from Flatstock, the US gig poster festival. Plus, in Monograph this month, TwoPoints.net show our subcribers around the pick of Barcelona’s creative scene.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Everything in the photography studio I run is either on wheels or breaks down small for storage—except the cumbersome 8-foot A-frame ladder, an absolute studio necessity. Sure it folds flat and can be leaned against the wall, but it’s still cumbersome and visually inconvenient; I occasionally have to move it into the hall when someone needs the wall space for shooting.
That’s why I’m loving the Corner Ladder by Company and Company, the Barcelona-based design quartet comprised of Allan Legaspi, Neus Company, Juan Pablo Ospina and Jorge Freyre:
Questa lente prodotta dai giapponesi di Gizmon va applicata facendola slittare sul case del vostro iPhone/iPad o altro device compatibile. Disponibile in 3 versioni diverse, le trovate qui.
Restando in tema di soldi combustibili…
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This post is the second in a series written by Christina Crook. Christina Crook has been a regular contributor in the pages of UPPERCASE magazine and we’re happy to welcome her to the blog this week with a special guest post series on the case for being creative offline.
After a five-year break from a painting career to have children, Samantha Cotterill (also known as mummysam,) returned to the art world as a self-taught fiber artist, creating one of a kind sculptures using all natural fibers. Today her energies are focused on creating a line of fabric designed exclusively for her Etsy shop.
“My current work is quite digital, with this past year seeing a big move from fiber drawings and sculptures to digitally coloured illustrations and textile designs. Many of my illustrations are based on raising a child with spectrum, and the textile design are a fun and playful outlet to explore my love of colour and pattern.”
Samantha’s relationship with the Web is something she’s given a lot of thought. Online she’s found Validation, a space to Experiment and an opportunity to Avoid. She’s recently implemented a specialized tool to curb her wayward online ways…A trampoline.
Describe your relationship with the Web. I have a love/hate relationship with the Web, and will probably continue to do so for as long as I allow the internet to be around me. The types of relationships I have struck with the internet are quite diverse, with each one occupying my life at varying degrees. Validation, avoidance, dependence, healing, experimental, past-time, and survival are but a few examples of the types of relationships I can have with the Web. I look to the internet for validation when posting new work and waiting for feedback, and avoid it when the time spent creating is being squashed by the endless hours of searching and looking at meaningless things. I depend on the internet to keep me creatively connected to others and help my business grow, and experiment with it when posting new work that is unlike anything I have done before.
What advice would you share with others regarding the interplay between the physical work of making and the online demands of the Internet? Make sure you are the devoting the time you need physically and emotionally to create a good body of work, and set up a structured routine that will eliminate any wasteful “let me just check this quickly” moments on the internet.
Do you try and restrict your time online? Why or why not? As a means of necessity, absolutely. While going on the internet can offer a wonderful source of inspiration, it’s accessibility to all things creative can allow oneself to easily get lost in it and lose sight of how much physical work time is being neglected. I would mistakenly tell myself “just 20 more minutes and then I’ll start work”, and find myself still saying that 3 hours later. It takes time for me to get into a good work rhythm, and if I spend much of that time browsing the internet, then another day will have gone by without any real work being accomplished.
Do you have a structured approach to your use of the Internet such as set times you check email, do updates, etc? This is something I have only just implemented, after noticing the amount of wasteful time that was being spent from jumping back and forth between my work and the Web. With the recent implementation of a daily schedule and clock that sits right in front of me, I am trying to bring back a balance that stops my ADD brain from wanting to quickly check something on the internet just 5 seconds after opening up Photoshop.
I have forced myself to only check e-mails two times a day, which has been much more difficult than I thought. I didn’t realize how much I was going to my e-mail, and even worse yet, checking my flickr account to see how many new views I had since my last check 3 minutes prior.
With the suggestion of a trampoline from a friend of mine, I now go and jump madly for a few seconds when I start noticing my little fingers starting to twitch as the “need” to check things on the internet gets stronger. (I know it sounds silly, but it works. Trust me).
There is a set time where update are made, and another set time for any networking that needs to be done for the growth of my business. I have even incorporated a set time for “free time”, where I can spend some good guilt-free moments to have fun and just tinker about…
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
