Hasta La Ideas

For some odd reason the seven dwarfs used to go mining at night and I reckon they could put this Light Shovel to good use! Jokes aside, I think it is a clever idea to integrate lighting into the shovel stick. It could come in handy in mines or when for you have to use it at night. Plus if we can get it to somehow trap kinetic energy and put it to some use, it would be great! For now the concept looks it can be tweaked and toyed upon.

Light Shovel is a 2012 iF Design Talents Entry.

Designer: Shenfen Wang

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Movie: the base and sock lining of these lightweight football boots by Nike are made of castor beans, as explained in our next movie with the brand’s global creative director for the Olympics Martin Lotti ahead of this evening’s exclusive event at the Nike+ House of Innovation at Selfridges.

Brazilian footballer Neymar (below) has worn the boots throughout the Olympic football tournament and has scored three goals in the lead up to the final against Mexico.

Along with the sprinting shoes and knitted running shoes, the boots are coloured neon yellow to be clearly identifiable as part of the Nike products range.

Each boots weighs only 160g and the upper is made from 90% recycled material.

Lotti will talk to Dezeen editor-in-chief Marcus Fairs about Nike’s latest innovations for the London 2012 Olympics in front of an audience at the event we’re hosting this evening – more details here.

Watch other movies in this series – featuring a sprinting shoe inspired by suspension bridges, knitted running shoes, a bumpy speed suit that’s quicker than bare skin and a basketball kit with built-in combat pads – here.

See a story we featured previously about the boots »
See all our stories about Nike »

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Football Boot appeared first on Dezeen.

Wim Crouwel: A Graphic Odyssey – Digital Catalogue is an iPad counterpart to Unit Editions’ excellent printed catalogue accompanying last year’s Crouwel show at the Design Museum

Designed by Spin and edited by Tony Brook and Adrian Shaughnessy, the iPad app repeats the beautiful presentation of Crouwel’s work that was such a feature of the printed catalogue – significant posters are presented by means of a shoot in the Crouwel archive, each one pulled from the stacks and shot in situ.

It also repeats the catalogue’s idea of presenting additional work as a series of shots of archive boxes, allowing the user the sense of being able to delve into the archive themselves

However the app includes extra content, including a filmed interview with Crouwel, photographs of the Design Museum exhibition itself and animations of significant Crouwel letterforms

From the initial opening screen, the app takes the user to a simple menu from which the sections (posters, interviews, boxes, logotypes, exhibition and type animation) can be accesed. Each section has an opening page, captions to content are revealed by means of a + button on screen.

A very slick, elegant app which, at £3.99 is an attractive alternative to the printed catalogue (priced £16.95). Our only quibble would be that it is not possible to zoom into the images of the posters to examine details up close, although there is an additional close-up image of one of them. Otherwise, well worth getting for Crouwel fans.

More info here. Available from the app store 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 August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as a member of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and much more. Plus, Rick Poynor’s assessment of this year’s Recontres d’Arles photography festival, and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.

Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.

We’ve seen some pretty spectacular thesis projects by up and coming designers over the years, but never before have any of those projects involved a 6+ month-long road trip through small towns all across Sweden. Erik Olovsson, who recently completed his Master’s Degree in Graphic Design – Storytelling at Konstfack, noted how easy it is “to be sitting in the office and surf design blogs instead of finding inspiration from reality… It’s rare that a designer gets a deeper insight into the client’s business.” With that in mind he bought an old motorhome, cleaned it up, gave it a bright new graphic paint job and hit the road seeking face-to-face interactions with small business across the country.

The crux of his mission is his strict no-fee policy. Instead of money, he takes payment for his design work in trade, with a preference for goods or services that will help him on his way. “Perhaps something to eat? Gasoline? New tires? A new hairdo? A hot shower?” he suggests. So far he’s traded a t-shirt design for a massage and web advice for cinnamon rolls. Overall he’s found that when no money changes hands the client/designer relationship is much more collaborative and equanimous.

He recently held a concert on the roof of his van, did the brand identity for a Swedish-owned mango factory in Burkina Faso and completed a poster for a letter writing group (check his blog for images of the group’s founders’ Wes Anderson-esque vintage letter writing suitcase). It’s too bad that his thesis didn’t include plans for a Designjet, as we’d gladly cook him a hot meal in exchange for some modern Scandinavian design. Currently, he’s in Östersund, and you follow his journey on Instagram at #eriksdesignbuss or on his blog, where he posts images of his travels as well as his work in process.

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