Royal Institution video channel

A highlight of the seasonal TV schedule in the UK, the Royal Institution’s Christmas Lectures have always provided a nice slice of science in the midst of the hymns and carols. Now many of the RI’s classic lectures are featured in a new video channel…

An ongoing project that will see all the Christmas Lectures uploaded, along with a host of other content produced by the Royal Institution, the Ri Channel already offers some gems from the organisation’s lecture series of old.

The site has been designed by Bureau for Visual Affairs (full disclosure: they designed the CR website) and one of the interesting aspects of the build is that the RI’s entire lecture archive has been transcribed, so that all the videos are fully searchable. Users can even click through to specific time codes in the films, add their own footnotes, and link to other videos.

Professor Carl Sagan’s cracking 1977 presentations on the Earth, the Solar System and Mars exploration, for example, are well worth watching; while Professor Bruce Hood’s 2011 exploration of the workings of the human brain also includes extra video blogs he made during his tenure. David Attenborough’s Christmas Lectures from 1973 are also made available online for the first time.

The Tales from the Prep Room videos reveal how many of the Ri experiments are devised and built. One looks at laser diffraction, for example, while another details the carpentry involved in creating an Ames room (see the film here)…

A further film documents the Ri’s experiments in creating Argon ice, “a noble gas in solid form” no less (watch that one here).

In addition to the RI’s archival films and self-produced spots, the website now has a wide selection of other science-related videos curated from the web. It’s aim is to become something of an online hub for the science-minded and those interested in discovering more about the world. More at richannel.org.

Just add wheels

Turn your iPhone into a racing car, ice cream van, or river boat with Chris O’Shea’s first app, Makego. Then, if you like, give it to your children to play with…

First off, you will need to download the Makego app and select your vehicle. Then you’re going to need to house that car, van or boat accordingly – a Lego construction for cars is good (see above), while a pencil case makes a great boat. Then you can interact with the drivers via some very cute animations and sound.

There are currently three different modes of transport in the first version of the app with more promised. According to artist and interaction designer O’Shea, the app “encourages fun, open-ended collaborative play between parent and child.”

The racing car, for example, features motion-activated engine noises, a ‘turbo boost’ option, a speedometer and a petrol gauge which you – obviously, I mean, your child – can refuel when the tank is empty.

The ice cream van (above) has a bit more interaction to it as users can also serve customers and work the till, while the river boat model (below) chugs along nicely, lets you feed passing ducks, and even has a tendency to spring a leak mid-journey (leaving you to fix those holes).

Here it is in action:

Download the app at makegotoys.com. Sound and music by Repeat to Fade, repeat-to-fade.net. There’s also a Flickr group where users can add images of their own vehicles, flickr.com/groups/makego.

More of O’Shea’s work at chrisoshea.org.

 

 

 

CR in Print

 

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

 

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

 

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.

 

Keld Helmer-Petersen at Rocket

The Rocket Gallery in London recently published a new book by the nonagenarian photographer, Keld Helmer-Petersen, and has just announced an accompanying exhibition of the Danish artist’s work…

Back to Black is the latest book from the Rocket Gallery’s publishing arm and features a collection of some of Helmer-Petersen’s most experimental work to date – certainly his most extensive work with digital manipulation and distortion.

Until April 22, the Rocket Gallery will be staging an exhibition of Helmer-Petersen’s work and books from 1951-2012, including images from Back to Black.

For further information and details on purchasing Back to Black, email Jonathan Stephenson on js.rocket@btinternet.com (the book is limited to 800 copies, £25 each; 100 signed editions are available at £35).

The Rocket Gallery is based in the Tea Building, 56 Shoreditch High Street, London E1 6JJ and open Tuesday to Friday (10am-6pm); Saturday and Sunday (12pm-pm). More at rocketgallery.com.

Design Museum Designs of the Year show opens

The London Design Museum’s Designs of the Year show opens today with its usual eclectic mix of the useful, the beautiful, the obscure and the obvious

The process of selecting work for the Design Museum’s Designs of the Year show, whereby industry figures are asked for nominations from which a final selection of work to go on show is made, guarantees that its content is far more diverse than that of pay-to-entry awards shows.

Thus, this year, we have major commercial products such as the Kinect for Xbox 360 displayed alongside experimental furniture, the Boeing 787 Dreamliner next to Andrew Slorance’s Carbon Black Wheelchair.

The graphics category shares some of this eclecticism, with Bloomberg Businessweek sharing a publications table with John Morgan Studio’s AA Files, the journal for the Architectural Association School of Architecture.

 

And Dalton Maag’s Nokia Pure Type project sitting across the way from De Designpolitie’s What Design Can Do! conference identity

Also featured in the graphics section (full list here) are Paul Sahre’s life-size paper monster truck hearse kit and video for They Might Be Giants (which we wrote about here)

SEA’s sample books for paper company GF Smith

 

Anomaly and Unit9’s One Thousand Cranes for Japan project in support of those affected by the Tsunami

 

House Industries’ Photo-Lettering

Noma Bar’s Cut It Out installation

And Your Browser Sent A Request That This Server Could Not Understand, an illustrated depiction of the internet by Koen Taselaar

Plus, Gordon Young and Why Not Associates’ Comedy Carpet installation, which is represented by a section of one of the concrete slabs used plus screenprinted section of the layout

There is also a very strong digital section whih includes iPad apps for The Guardian and Letter to Jane magazine, the BBC homepage, UVA’s High Arctic installation, Dentsu’s Suwappu project, Musicity by Nick Luscombe, Simon Jordan and Jump Studios and the Homeplus Tesco Virtual Store from Korea.

I enjoy the variety of this show and the way that it embraces the extremes of the design industry’s output, from worthy projects such as Autolib, the Parisian electric car scheme

to Kate Middleton’s wedding dress and Vivienne Westwood’s Ethical Fashion Africa Collection, a project producing handbags in Kenya and Uganda

But, talking to graphic designers at the show’s opening party, it was clear that most felt unease at the way in which their area of practice compared to the scale and importance of other projects on show. How, for example, can you get too excited by a music video when across the way is Massoud Hassani’s Mine Kafon, an amazing concept for a wind-powered land mine clearing device

Or the Re-design for an Emergency Ambulance from the Helen Hamlyn Centre for Design and Vehicle Design Department at the RCA

Never mind some of the architecture nominees, which include a hospital in Rwanda and a market in Haiti.

But it’s all design. The purpose of the show is in part to remind us of the enormous scope of design and the many ways in can touch our lives, from the life-saving to the life-enhancing. It does that admirably.

Designs of the Year is at the Design Museum, London SE1 until July 15

 


 

CR in Print

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

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.

Rapid Proto Type

Arkitypo is a collaborative research project between Ravensbourne and design studio johnson banks that aims to push the limits of rapid prototyping technology in the creation of a 3D alphabet

Ravensbourne asked johnson banks to come up with an idea to utilise the newly-acquired rapid prototyping machines at the college. Johnson banks’ suggestion was to create a 3D alphabet in which each letter expressed an idea relating to a typeface whose name started with that letter. For example, the F, above, is from Fraktur, a typeface that will forever be associated with Germany. The 3D letterform is extruded from the shape of Germany on a map, which can be seen on the reverse.

The B starts as a Baskerville B which then morphs into the same letter in Bodoni – a reference to the fact that Bodoni was derived from Baskerville.

“For each letter we carried out extensive research, made drawings, built maquettes and did simple 3D visuals on our machines,” say johnson banks. “before handing the ideas over to Ravensbourne’s team. There was a period of ‘virtual proofing’ where we examined the ideas as rendered files, and when all parties were happy, we began the printing.” Some of the letters took up to 90 hours to ‘print’.

The R is set in Retina, a typeface designed to deal with ‘ink-fill’ at tiny sizes: “We reversed the process and drilled an ‘R’ out of huge, oversized ink bubbles,” say johnson banks.

“This slightly mind-boggling design takes inter­secting ‘Z’s from Zig-Zag to create a 3D puzzle”

Some of the letterforms are on show at the London HQ of Arup (8 Fitzroy Street W1).

The show opened to coincide with the latest of Arup’s Penguin Pool events in which they ask various designers to speak on a theme – last night’s being data visualisation. The Arkitypo project is on display until February 8.

The entire project is documented in the February edition of Monograph – the A5 publication that all CR subscribers (and only CR subscribers) receive free with each issue of Creative Review. If you’d like to subscribe, all the details you need are here.

 

There is more about the project on the johnson banks website here

Design: johnson banks
3D imaging and prototyping: Jon Fidler
Photography: Drew Morgan
Project client: Jill Hogan
Project advisor: Ben Caspersz

 

 

CR in Print

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

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.

BBC unveils redesigned Sport site

BBC Sport has unveiled a new-look, and very yellow, website which aims to put video content to the fore and align the Sport department with the BBC’s overall visual language (read our original post on the development of that visual language by Research Studios here)

First, a little background. The original incarnation of BBC Sport online, launched in 2000, looked like this:

That site was revamped in 2003

With another update in 2008 (sorry aout the tiny pic)

The most obvious (apart from the yellow) and immediate change with the new site is a switch from a left-hand vertical main navigation to a horizontal bar.

In his detailed post on the new site, the BBC’s Ben Gallop explains that “This is in line with the rest of BBC Online – and indeed with virtually all other major sports websites.” He goes on to say that “The previous site had a long list of sports on the left-hand side of the Sport homepage. But crucially that was the only page that did so. With more and more people bypassing that front page and coming straight to specific pages deep within the site (via search engines, links from social networks and other recommendations from friends) we needed a way to guide them around the rest of what we have to offer.”

It’s not a full list of sports – users can find that by accessing an expanded menu through the More Sports tab top right. Using both the main nav bar and the expanded menu, the site is able to provide a full list of every sport covered on every page of the site.

There is also, as Gallop explains, expanded coverage of live sport as people increasingly turn to the web in order to follow games. So, more video, live data and commentary.

It’s important to remember that this is the first iteration of the site and, as such, will surely be subject to much tweaking in the coming weeks. Judging by the user comments on Gallop’s post, the use of yellow is so far proving the biggest bugbear.

As can be seen from the images of previous versions of the site shown above, yellow is BBC Sport’s colour so its use is appropriate. The new version just uses it more extensively – too extensively for many. Colour is a very useful device for reminding users instantly of where they are on a complex site – the BBC uses red for news, for example – but what looks good in pre-launch mock-ups doesn’t always translate well to everyday use. The first version of the CR site used bright orange as an accent colour on a lot of the menu items. We all liked it in development but as soon as the site went live we realised it was a mistake. But this is something that is relatively easy to fix.

The biggest complaint I have with the site, however, is a lack of finesse.

At the time of writing, the main story was on Manchester City manager Roberto Mancini’s reaction to his team’s defeat at Everton. Click through to the story and the first part, above the ‘fold’, appears like this:

Note the awkward space created by the left-hand column for social media links, which is exacerbated as you scroll down further

where the awkward placement of the box-out story adds to the visual confusion

go down further and things are made worse by the video insert, complete with ugly widow in the caption

Although the site is designed to integrate with the rest of the BBC’s services, it’s not seamless. Click on the John Terry lead story on the Sport site

and you go through to the main story page which is situated on the News site and so has a totally different treatment to a Sport story like the Mancini one

The much trumpeted video content is also displayed awkwardly in some cases. Here’s a story on Welsh rugby star Shane Williams’ top tries

In this case, the Most Watched list appears to float and the Share buttons, while important, are given undue weight. Other video content appears better resolved when the video box itself is wider and the story has longer text

Why the two different video sizes? Perhaps the discrepancy is just a first day glitch.

Elsewhere, problems stem from the inevitable compromises needed to make a site of this scale work. One of the issues with editorial websites is the need to, on the one hand, keep production work to a minimum while, on the other, maintain basic standards. The ideal is to have as few elements as possible for each story – you don’t want to have to write three different headlines or standfirsts, for example, or to have to upload six different sizes of your lead image because of the number of different places throughout the site that the image must appear in. But it’s very hard to make this work in practice. So you get things like this

or take this story on Man City’s recent travails. On the home page the problem lies with the headline, which is too short for the two decks it has been given

But when it’s displayed as an additional content link on the Mancini story, it’s the standfirst that is the issue

When you are trying to manage a website, this kind of thing can drive you mad and I have every sympathy with those involved at the BBC. Doubtless, readers can find plenty of issues with the CR site and many others.

Taken in isolation, the points highlighted here are relatively minor in the context of such a huge undertaking but they, along with some problems of type size and spacing the site shares with the rest of the BBC online family, add up to create an overall impression of a distinct lack of finesse.

There’s something just a little crude about this site that will need some close attention to detail and rigour from production staff over the coming weeks to put right.

 

 

 

CR in Print

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

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.

Sir Benfro’s Brilliant Balloon

Meet Sir Benfro (above). He’s an adventurous chap with a magic, glowing balloon. Float with him through forests, over oceans, and down into the bowels of the earth, but beware the bizarre and wondrous creatures that inhabit Sir Benfro’s world…

Yes, Sir Benfro is the star of a new illustrated iPhone (and iPad) game app (main menu screen, shown above). He is, says the game’s maker Tim Fishlock, “a naturalist, scientist and explorer. Sir Benfro has made some of the most important discoveries of his generation. Without him we would have no idea that instead of laying eggs, the female Stingomp knits her offspring from the laces of old pairs of sneakers.”

Fishlock, who created the original artwork for the game, collaborated with Giles Hammond on the project who brought Sir Benfro’s world to life.

The idea of the game is very simple – keep Sir Benfro afloat for as long as possible, collecting magical fireflies (called Light Emitting Daves) which power the balloon. As well as playing the game, players can use the Spotter’s Guide to take a closer look at and learn about some of the strange beasts that share Sir Benfro’s world (and obstruct his path), such as the Timorous Fizzle:

Here’s a short trailer for the game:

Sir Benfro’s Brilliant Balloon Official Trailer from Explore and Create on Vimeo.

Sir Benfro’s Brilliant Balloon launched today and is now available from iTunes’ App Store for priced at £0.69 in the UK and $0.99 in the US.

 

 

CR in Print

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

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.

Behold, ’tis Photoshoppe Trickery

Last year image retoucher Steve Bland revealed his new identity as The Great Blandini. Now his ‘Photoshoppe’ skills are demonstrated in a brochure befitting his magical transformation…

In The Little Book of Photoshoppe Trickery, devised by Interbrand Australia, readers can behold the full range of Blandini’s mastery of manipulation.

See The Gentlemen Transformed Into a Lion; then look on at his proficiency with The Glowing Edge and The Adjustment Layer; his handling of Shadow and Highlight.

A custom retouch reveals The Charming Lady Mysteriously Intersected – i.e. sawn in half. And it’s fair to say: we can’t tell how it’s done.

But we warned, lest the Photoshop Disaster (shazam!) be unwittingly invoked.

“The power that performs wonders may also unleash horrors,” the booklet claims. “These arts are to be practiced with finesse, or elsewhere left to those that possess more cunning in the craft.”

And by way of a grand finale, the text of the entire brochure, including the body copy, has been drawn by hand. Magic.

The book was devised by Interbrand Australia and designed and art directed by Mike Rigby, Jefton Sungkar and Diana Chirillas. It was written by Mike Reed. More at Rigby’s blog, here.

Bear71: wired in the wild

Bear71 is a powerful interactive documentary that follows the life of a Canadian grizzly bear and explores how the natural world adapts to human interference and our attempts to manage and control wildlife…

In 2001 wildlife conservation officers at Banff National Park in Canada began monitoring the movements of a three-year old female grizzly bear. Over the next eight years, the activities of ‘Bear71’ were tracked via an electronic tag and recorded on hundreds of motion-triggered cameras stationed in the park.

Examining the details of her movements (and those of a host of other wild animals, even people) the collected data revealed much about the interaction between wildlife and humans in the park.

In order to survive among the roads and railway lines that criss-cross Banff, for instance, the animals have learned to ignore their natural instincts – many are captured on film ‘using’ the man-made paths and tracks, or navigating train lines.

The project’s co-creators Leanne Allison and Jeremy Mendes decided to turn the 1m photos taken during the time of Bear71’s monitoring into an interactive project with the help of the National Film Board of Canada’s digital studio, NFB Interactive, and have Bear71 herself as the narrator of the story (she is voiced brilliantly by actress Mia Kirshner).

The project launched recently at the Sundance Film Festival and is now available to view online at bear71.nfb.ca, where users can explore a rich digital map of the park and its inhabitants, and even interact with other viewers via webcams.

There’s also an augmented reality app (shown above) to complement the experience and, at Sundance, an accompanying exhibition on the project was staged. And if this array of storytelling modes sounds like too much, simply watch the 20-minute documentary unfold at bear71.nfb.ca.

As the creators write on the project website, Bear71 has had to “take stock of the various technologies that affect her, and critically assess human efforts to ‘manage’ wildlife in an area where grizzly bears are barely hanging on”.

Indeed, while new technologies appear to have allowed humans to get closer to nature, many of the processes are actually divorcing us from it. Bear71 sums it up as “sometimes it’s hard to say where the wired world ends and the wild one begins”.

It’s moving stuff. Towards the end of her story, Bear71 discusses the loss of one her cubs. “More than a million years of evolution have prepared her to live in the wild,” she says of her young daughter. “But let’s face it, the wild isn’t where she lives. She’ll have to learn a new way to survive and so will her cubs and their cubs after that. They’ll have to learn not to do what comes naturally. And I wonder: maybe the lesson is too hard.”

The trailer for Bear71 is here:

Watch/interact with the Bear71 project at bear71.nfb.ca. Running time: 20 mins.

 

 

CR in Print

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

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.

Smile For London Celebrates Poetry

London-based readers may have noticed a set of intriguing films on the Underground recently. Commissioned by Smile For London, the shorts feature poetry set to animation, all with the aim of cheering up commuters.

This is the second set of films commissioned for screens on the Underground by Smile For London. The first selection included short films from Aardman Animation, Jon Burgerman and Pete Fowler, all based on the theme ‘smile’. For this second ‘exhibition’, SML is championing poetry, asking a selection of poets (famous and amateur) to contribute words that are then beautifully set to animation to show on selected screens on the tube. Included are poems from Jarvis Cocker (still shown above), Murray Lachlan Young and Benjamin Zephaniah, with imagery provided by the likes of Macolm Garrett, Andy Rementer and Why Not Associates. There are 40 films in total, each 20 seconds long. All the films can be viewed on the reel below:

More information on the Smile For London project is at smileforlondon.com.

 

 

 

CR in Print

If you only read CR online, you’re missing out. From the meaning of beans to the power of love, the February issue of Creative Review features our 20 favourite slogans of all time and the stories behind them.

What makes a great slogan? We investigate the enduring power of these clever little phrases in our special slogans issue, dedicated to our choices for the top 20 slogans.

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.