Fear of the blank page

I have a collection of blank sketchbooks and journals that I’m afraid to make a mark in for fear that what I commit to paper won’t be good enough to match my expectations. There’s a gorgeous hardcover blank book covered in Marimekko fabric that I intended to start as a daily record of my business thoughts and goals when I moved into my new office space… a year ago. It’s still blank, but as the months pass, that simple notebook is becoming more of a burden. I see it perched on my shelf, chiding me. The past year didn’t turn out as I imagined or planned. Moving my studio after eight years in Art Central (a 3-storey commercial arts complex slated for demolition) turned out to be just the opening act for a very challenging year.

Unless I disassociate my expectations about what this past year was supposed to be like, I suspect I will never do anything with that notebook.

Have you ever not started a project in order to avoid the risk of failure? 

As creatives, we dance with failure on a daily basis. Whether we flirt with disaster by using a temperamental medium, or endure the uncertainty that comes with being a freelance designer or illustrator, the potential for failure (and success) is immense. It’s part thrilling, part paralyzing. 

Keep moving!

 

This article originally appeared in my weekly newsletter on August 5. To read it in its illustrated entirety, click here and to hear stories and advice from UPPERCASE readers, click here.

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Beautiful Books by Bari Zaki

UPPERCASE reader Bari Zaki makes these gorgeous books using traditional European and Japanese techniques. In addition to blank books, box-making, she also binds photography portfolios and photo albums.

Bari writes:

I have been a hand-bookbinder for 25 years and so your recent newsletters had a particular resonance with me. My career began with a simple yet intense curiosity; I saw a blank book that was made by hand and it sent my heart into a pitter-patter of delight… How do you do that, I wondered?!  I went in search. Since then I have made literally hundreds of books and have several stacks of them in my home, which have become permanent fixtures.

“Many people say to me that they love my books but they are too special to write in… I hear that a lot in fact. I thought about scribbling on the first page as an ode to making the first mess, so to speak.” Whether they are left blank to be admired for their integral beauty of form and construction, or filled with sketches and notes, Bari’s books live up to the ultimate goal of any book: to inspire.

Visit Bari’s shop to see more. 

Featured Stockist: Kasa Suasa

What a gorgeous shot by Malaysian stockist Kasa Suasa for their webstore! Their site’s intro photographs are top notch — go take a look and click through — you’ll find a series of lovely still life composition featuring UPPERCASE and other magazines like Hearth and Cereal and cards by Rifle Paper Company and Garance Doré. 

The spine pattern for fall

The fall issue is heading to print just after Labour Day and I look forward to revealing the cover design, featuring the work of Seb Lester, on Tuesday! (Subscribe to my newsletter to see it first.) In the meantime, here’s the pattern design I’ve developed, inspired by the content within the issue. In addition to the special calligraphy and lettering section in the fall issue, we also explore the influence of heraldry on traditional and contemporary art and design.

Starting from the observation that a calligraphy nib is somewhat shield-like and also thinking about the souvenir spoons that are featured in the Collections spread, I did some studies of the nib shape and shield shapes, ultimately going in this simple repeat so that the overlap of the shield vaguely references the split in a nib. It can’t be too detailed or illustrative since it will be reproduced quite small (and in silver foil! I hope!) on the magazine’s spine.

I can see foxes and bears in the motif as well, can you?

Face Books

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Artist Alison Stockmarr pokes fun at Facebook by imagining ‘Face Books’ of old. She pairs oddly-titled old books, found photographs and cut up lines of text to create curious personalities. She writes:

By matching old photographs with suitably titled books, profiles are constructed, creating a library of invented friends of yesteryear. Apertures are cut into books, with photos and ephemera collaged within their pages. Appropriate, and sometimes inappropriate, narratives are composed to complete the picture! I hope you ‘like’ them.

The cover reveal!

How will a sweater look with a particular yarn? What will a quilt look like when it’s done? How will inks layer in a silkscreen? How will a sketch translate to final art? How will the ceramic vase look when glazed and fired?

When you embark on creating something new, it’s all about having confidence in your ideas—and the ability to visualize what you want. The same is true in design for print: although you can approximate how something will appear in print, there are plenty of instances when you have to use your imagination, have faith in your idea and just go for it. 

I’ve been imagining the next cover to have a shiny silver foil on the spine and on the number 23. Like this:

In contrast to the summer colour issue, the fall edition is decidedly toned down in hue—but not in inspiration or creative excitement!

Celebrating things monochromatic—and the graphic appeal of black and white—issue #23 contains a special calligraphy and lettering section featuring Seb Lester (the cover artist who created this fun calligraphic grocery list), master penman Jake Weidmann and profiles of Joy Deneen, Maybelle Imasa-Stukuls, Erica McPhee, Barbara Calzolari, Neil Tasker, Pietro Piscitelli and Molly Jacques. The experts offer tips for beginners and our talented pool of readers share their amazing calligraphy work as well.

This issue also has articles about modern-day heraldry and how to use tradition and crests to design your brand; silver spoons painted and collected; the dynamic mother-daughter duo Tag Team Tompkins; a field trip to an in-house sign painter at an old-fashioned department store; a visit with the enigmatic inhabitants of a House of Cardboard; and a trip to a Parisian calligraphy guild.

I’ve got one week left to get the design finished up and off it goes to the printer! 

 

Want to keep that summer feeling? You can still subscribe starting with issue #22. I’ll mail it to you right away and then you’ll get the fall issue when it is released in October. Or if already have a copy of #22, subscriptions starting with fall are available here.

Barbecana by Edward Mascarenhas turns the Barbican into a video game

A graduate from the Bartlett School of Architecture has turned the iconic Barbican Estate in London into the setting for a proposed augmented-reality video game (+ movie).

Barbecana by Edward Mascarenhas

Edward Mascarenhas created the game Barbecana during his studies with the Bartlett’s Unit 24, which focused on using the moving image to create and understand architectural environments, under the theme “collision”.



Barbecana by Edward Mascarenhas

The project proposes creating a fully immersive video game environment that would be overlaid onto real buildings and spaces around the estate, using augmented-reality technology. This would allow multiple players to roam the real Barbican’s elevated walkways and corridors to collect virtual architectural elements.

Barbecana by Edward Mascarenhas

With the pieces they collect, the players would then compete to build bridges, battling to create the longest and tallest structures.

Barbecana by Edward Mascarenhas

“The area directly surrounding the Barbican itself has these elevated walkways that are heavily underused for a central London location,” Mascarenhas told Dezeen.

“It is a very unique space which is completely under-valued and is suited to be re-appropriated without physically transforming it.”

Barbecana by Edward Mascarenhas

“This is the essence of the project, the ability for augmented reality to be more then a simple graphical overlay, to speculate on how such technologies could be used to radically transform the atmosphere of the built environment without physically altering the space,” he said.

Barbecana by Edward Mascarenhas

As well as offering a fun experience, the game is designed as a commentary on the current relationship between design and construction in London, “highlighting the current gamesplayed by construction industries”, said Mascarenhas.

Barbecana by Edward Mascarenhas

He created a video mock-up of the game using 3D modelling programs Rhinoceros and 3DS Max. The computer generated environments were merged with real-life footage of the Barbican using the programme Boujou, with other visual effects produced using Adobe After Effects.

Barbecana by Edward Mascarenhas

The full augmented-reality version of Barbecana is still just a concept, although Mascarenhas has developed a simplified version for a board game.

Barbecana by Edward Mascarenhas

“A set of rules has been fully developed but the kit of parts used to play the game is only slightly developed,” he said.

Barbecana by Edward Mascarenhas

“The augmented reality technology needed to play does exist but is not developed enough to produce the same level of immersion seen in the video. Ideally the game would be developed further to include many more architectural packs to play with as well, so in a sense this is a proposal but also a playable proposal.”

Barbecana by Edward Mascarenhas

The project complemented Mascarenhas’ written thesis, which examined the relationship between architecture and play.

Barbecana by Edward Mascarenhas

“As well as studying the effects games like Grand Theft Auto V have on the discourse of a modern metropolis like Los Angeles, this took the form of a written parody of the famous Reyner Banham Loves LA, where Professor Reyner Banham acted out an edited cultural representative tour of the city,” explained Mascarenhas.

The post Barbecana by Edward Mascarenhas turns
the Barbican into a video game
appeared first on Dezeen.

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A Brief Look at Texting and the Internet in Film

Tony Zhou est un passionné de cinéma et de séries TV, et ce dernier a récemment proposé une excellente vidéo « A Brief Look at Texting and the Internet in Film » permettant, à travers de multiples extraits, de montrer comment les échanges de messages ou les recherches sur Internet sont insérés et imagés dans les fictions. Une très bonne initiative à découvrir.

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