Advertorial content: In the history of silent film, an artistic medium that dates back to the late 1870s, it’s hard to imagine a greater task being asked of such a few moving images: to get a person—who lives in New…
Here’s a look at Miller Creative’s brand-spanking-new business card design. They are printed on bend-proof 98pt gray coverboard recycled paper, printed letterpress in 2 colors and then rubber-stamping of tiny messages on the card's edges. See more.
Tweets win gumballs in a Rube Goldberg-inspired marketing campaign
South Africa seems keen on treat-based tweeting these days. On the heels of Bos’ “Tweet for Tea” social media-driven vending machine at Design Indaba, Cape Town welcomes another guerilla marketing installation integrating the mechanical with the digital to make you smile. Conceptualized by design duo Thingking (who created the Bos machine as well) and advertising agency DraftFCB, the Wonka-like pop-up machine occupies an unused storefront window and is based on bringing to life the Toyota Etios “Here to make you smile” campaign.
Visitors tweet the #etiossmiles hashtag and a unique pin to activate the Rube Goldberg-style installation, which releases a gumball that is put through about a minute’s worth of trials and tribulations before being dispensed to the tweeter. Using the drama of the extravagantly intricate machine to delay gratification just slightly, tweeters have become completely absorbed in the experience and, as video records show, leave with an ear-to-ear grin.
The contraption was literally born from a bunch of junk, melding a hodgepodge of a velskoen, car central-locking motor, treadmill, plastic palm trees, xylophones, magnifying glasses, a mirror ball, a midi keyboard played by a rotating armed stick, a plastic shark tank, a polaroid camera, a bird house, a zoetrope of dancing bears and wobbly-legged wooden toys among other things.
Sourcing the majority of the parts from Cape Town’s infamous weekly car boot sale, the Milnerton Market, the aesthetic is charmingly retro, upcycled and handmade. All of the switches and triggers are visible on the system that took Thingking’s Marc Nicolson and Lyall Sprong three weeks to make, and some tweeters have reportedly spent ages figuring out exactly how it works. Rather than the typical black-box approach of contemporary technology, this openness of the mechanics has certainly enhanced the magic of the situation.
The machine is also prone to fail on occasion, mostly because not all gumballs are perfectly shaped and in an effort the keep the machine as open as possible, there are very few guides. However this element of chance only serves to make the receiver more grateful for their good luck. “Tweets for Sweets” is now up and running at Muti, 3 Vredehoek Avenue in Cape Town.
Now that it's spring, there have been lots of around-the-house projects begging for attention. I've also been looking at a lot of fresh inspiration. Here's a collection of things I've been working on and cool things I thought you might enjoy seeing.
I saw these awesome wine bottle illustrations by Lydia Nichols over at The Dieline. Speaking of The Dieline, the Package Design Conference in Boston is around the corner. I plan to be there with Yael (she's speaking on Sunday).
I decided I needed a second pair of glasses. I do a lot of work outdoors and in the workshop, so I need a second pair so I don't screw up the one I have. I was looking at a bunch of styles over at Warby Parker.
They must be pretty popular because I'm still waiting for a bunch of styles to become available for Home Try-On. Which style do you think I should get?
Our studio, Miller Creative, just completed the redesign for Cybele Pascal's blog. I think it looks pretty awesome.
I finally got brave and started my trial of Basecamp, which is a project management tool. Unlike Yael, I am very slow to embrace something new. Basecamp seriously rocks. It's perfect for managing our projects. All I need now is something useful to manage clients and potential clients.
We recently had the opportunity to recommend Keef for video production for one of our clients. They're the creative genius behind the video for Breukelen Distilling. As a suprise gesture of thanks they sent us a bottle of Breuklelen's Glorious Gin (seen above). The video kinda makes you want to get up and create something. [Branding and packaging by I Love Dust]
Volkswagen used crowdsourcing to supply ideas for a futuristic concept car. They then turned the top ideas into these amazing concept videos. You can see the video here.
Après Paul Graves en 2010, la marque de vodka Absolut a choisi Simon Schubert pour donner sa vision de la pureté en 2011. Ce dernier a pensé une affiche réalisée uniquement avec des pliages. Jouant sur l’ombre et la lumière, la vidéo dévoile l’opération dans la suite de l’article.
We check in with one of the U.K. artists tapped by Wagamama to serve its customers some culture
Step into a Wagamama restaurant and you expect friendly service served alongside contemporary Asian dishes. U.K. visitors to the chain will now get a taste of nine emerging English artists too. Working with Moniker Projects, the new program goes by the name Art and Eat.
With Moniker, Wagamama started placing installations in their restaurants last month, also splashing the art on placemats and bookmarks that come with your check. The upshot is an initiative that both supports U.K. artists, while giving customers an engaging cultural moment as part of their meal.
When I sat down with one of the featured artists, British abstractionist Remi/Rough, he explained his position on the extensive history of corporate commissions like Wagamama’s. When brands approach artists, “sometimes there is artistic freedom,” he explains, “but other times they’ll ask you to work around their logo, to which I often say no.”
For his mural in Wagamama’s Royal Theatre Hall restaurant on London’s Southbank, “they didn’t ask to see my design,” he confirmed, pointing out the company’s generous creative license with the artists. “I chose colors that do not appear anywhere in Wagamama—except black—and I played with the idea of making stairs, as though they’re steps into the Hayward gallery on the other side of the wall.”
Pictured here are works from Mark Lykin, Malarky, Matt Sewell and Pam Glew. Other participating artists include Inkie, Patricia Ellis and Holly Thoburn.
Moniker has a short release of about 25 prints for sale and, as in Remi/Rough’s case, hand-painted pieces from each artist (£109 in the U.K., or £119 to ship elsewhere) as well. All proceeds go to the artists.
Wagamama will also give away prizes to people who include the hashtag #artandeat in their tweets during the span of the program, which runs through October 2011.
Heineken brings young designers to Tokyo for a look at five nightlife spots
At the most recent Milan Design Week Heineken launched a global project to design the club of the future. After an international competition and a year-long research process, the nightlife destination will be actually built and unveiled at the 2012 Salone del Mobile.
To get inspiration, the Open Design Explorations brings the winning group of young designers to the best clubs on the planet. Taking place in São Paulo, New York, Milan and Tokyo, Heineken invited us to take part in the Japanese phase of the investigation.
Following an introductory session where all the designers to met and began the process, we tagged along with a group of three Japanese and one English designers continuing the analysis. The four are tasked with observing people and their behaviors—not just the design of the venues.
First up was the fashionable Air in Daikanyama district, famously where Sofia Coppola shot some scenes of “Lost In Translation.” Like all the other clubs we’ll visit, the dance floor is below ground level and the music plays loudly. An all-red VIP room and an area with tables and sofas allows for chatting, drinking and smoking (common in every restaurant and bar in Japan). The music selection includes American music of the late ’70s and early ’80s, great for having a good time—but most seemed to observe rather than dance, probably because it was only just past midnight.
Sure enough, the crowd is starting to arrive when we leave to reach the next club, Unit. Here, the music and the crowd are completely different. In the main area, the deejay plays a mixture of hip-hop, electro and trip-hop. People listen rather than dance, more like a concert-style scenario. One floor down, a bar provides an area for relaxing and (like most of the kids) checking mobile phones. Outside, staff kindly asks us to stay quiet—this is a residential area and, as some signs clearly state, the neighborhood deserves to rest.
Next stop is the Ebisu district, destination Liquidroom. The first area is a large quiet bar; the music isn’t too loud and it’s easy to relax and interact with others. Downstairs there’s a food area, once again almost without music, where club-goers can relax, drink, smoke and eat traditional street food. In the next room, a large dance floor is crowded with revelers drawn to the music played by Mungolian Jetset, a bunch of colorful and pretty peculiar guys in love with the sounds of the Italo Disco and ’80s music. The crowd really appreciates the performance, dancing and screaming throughout.
But the long night out isn’t over, continuing at Eleven, a place for a younger and wilder generation. The Japanese designers that are working at the Heineken project are pretty excited, since this is one of the most popular venues for nightclubbing in Tokyo. Über-pink walls and light in the lounge zone vividly contrast with an extremely dark dance area. The excellent audio system reproduces neat and powerful sounds, while every single person dances alone, randomly lit up by slow and delicate spotlights in just a few pale colors.
It’s almost five in the morning when we head up to our last stop. Module is very close to the Shibuya Crossing, astonishingly empty at this time of day. Here, the designers and the team finally have the chance to relax and party. Pretty small and retro, the venue feels like a cozy, dusty Victorian house—the contrast with the b-boys filling the place couldn’t be stronger. The deejays play vinyl records and choose pop music of the ’60s and ’70s, plus some old kitschy soundtracks.
How Gap is reinventing 1969 through their design-driven heritage
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For the past year, Gap has been designing their 1969 denim line in a former cigar factory on a quiet industrial block in Los Angeles. Known as the Pico Creative Loft, the move from their San Francisco headquarters signals a renewed focus on design, one that draws on Gap’s heritage of accessible quality, while also redefining their take on modern fashion in the process. When we were tapped to help tell the story of new design studio for their fall campaign, we were excited to pick up where our last successful collaboration with the brand (our joint holiday pop-up shop) left off.
During the week we spent in L.A., interviewing 1969 designers, documenting their work and the space on video and with photography, we had the rare first-hand experience of witnessing a mega-brand reinvent their strategy from the inside out. Reconfiguring their infrastructure as more design-centric shows Gap rethinking the very blueprint of how they do business. Pico operates more like a start-up, reflected in the open workspace, a pervasive entrepreneurial spirit and emphasis on collaboration. And most importantly, as you’ll see if you check out the videos and other content we produced, the designers and their team at Pico all share a passion for denim that infuses the space.
Also integral to the project and one of the best-kept secrets of the industry, Los Angeles is home to some of the few remaining U.S. facilities for treating fabric. We were lucky enough to spend an afternoon at a prototyping facility to see the highly-specialized processes—from 3D effects to stonewashing—that help realize the design concepts that come out of Pico. Again, it’s this kind of commitment to technique that enables Gap to make denim that can compete with brands considered more “high fashion.”
While it may seem like Gap’s just jumping on the design consciousness bandwagon, the project works because it stays true to the brand’s authentic design heritage. What that means at Pico is interpreting the idea of denim as a modern American symbol for pragmatism, hard work, and creativity. By embracing concepts traditionally reserved for the more hardcore denim-heads, they make premium fabrics, better cuts, innovative washes and other high design features accessible to the masses.
Rather than defining themselves with gimmicky embellishments in a denim market that’s no longer dominated by any one brand, the emphasis on design itself becomes the aesthetic. Each product embodies minimalism, incorporating just enough technical details to see wearers through a typical day, seamlessly transitioning from the office to playing soccer with your kids.
This lifestyle element is also integral to Pico’s location, drawing on the area’s tremendous influence on popular culture. Love it or hate it, the inherently laid-back lifestyle that goes with the skating, surfing and health-consciousness on the West Coast has influenced our relationship with denim (and modern dressing as a whole) for decades. The resulting products draw on the Southern California lifestyle, Los Angeles’ denim heritage and the design talent of the Pico team to give them the kind of integrity that it takes to make it in today’s market.
Key to accomplishing the overarching design concept with the fall collection was to break away from blue denim. The men’s Straight Fit in grey, a perfect example of merging materials and ideas, was born from the extremes commonly seen in standard gray and black jeans. A gunmetal warp and light gray weft provides a clean but edgy look, formal yet rebellious. In Men’s Design Director Jason Ferro’s words, keeping it “a little bit cleaner, but it still has that energy and that really nice dynamic to it.”
Another great use of the contrast between warp and weft is the olive Skinny Fit men’s jean. The pant, constructed of premium Italian denim, combines a black weft with an olive-yarn warp, creating a fantastic contrast where the lighter olive tone shines through the darker denim—letting you maintain the ruggedness of a black jean but with enough variation to set you apart from the crowd.
The new pieces in the women’s line follow these same principles, clearly illustrating where the 1969 staff was challenging themselves to move beyond the typical denim design expected from a large brand. The Mid-Weight High-Rise Legging takes a super casual fabric and shapes it into a classic denim form. With an almost-sweatpants feel, the pant allows you to stay super comfortable while retaining the look of a five-pocket jean. This non-traditional denim mix is a fantastic example of how Gap is taking an unconventional approach from the ground up, directly addressing style, comfort and lifestyle.
The legging’s sister pant, cut from a densely-knit jean fabric, the Ponte five-pocket are like every woman’s “little black dress” but also available in a deep neutral olive. Fit for any occasion, the Ponte moves with you thanks to its structured yet stretchy material—a versatile fabric that feels great against your skin and goes with just about any top, casual or formal. Unlike standard flimsy leggings that leave you feeling exposed, the Ponte hugs and supports the body in all the right places, strategically revealing and concealing—which means you don’t have to sacrifice comfort for appearance.
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.