Q-Link Mini

Help your body tune out the electromagnetic frequencies coming from your devices
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With phone calls to make, e-mails to write and noise to tune out, we are constantly connected to our personal electronic devices. To ward off the harmful electromagnetic fields radiating from these gadgets, the Sausalito, CA-based Clarus Institute designed the Q-Link—an innovative product that uses Sympathetic Resonance Technology to help your body defend against EMFs and other stresses produced by electronic devices.

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Previously embedded in bracelets or pendants (pictured above), the new Q-Link Mini (pictured at top) attaches to gadgets for seamless protection. A small, lightweight button, the Q-Link Mini harmonizes the frequencies emitted from electronics with your body. While scientists and medical researchers are still investigating the exact effects of over-radiation from electronics, Q-link has been offering this increasingly important solution for over ten years now as an affordable precaution for the better-safe-than-sorry crowd.

The Q-Link Mini sells online from Clarus’ site for $25.


Kyoorius DesignYatra 2010

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Brought to you by the Kyoorius Exchange, a not-for-profit located in Mumbai.

The exchange aims to bring creative people together under one roof to reinforce a sense of community among India’s creatives (‘Yatra’ translates to ‘journey’). You can learn more about the initiative on their site. If you’re in those parts I’d suggest checking it out, wish I could make it!

Bisazza Crystal Collection

Adorn your walls in Swarovski with patterns spanning from sea horses to robots
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Established a half-century ago in Northern Italy’s Alte Vicenza region, Bisazza is one of the world’s most innovative producers of glass mosaics both in terms of technical solutions and style. Their recently launched The Crystal Collection blurs the line between classic design and contemporary decoration, integrating Swarovski crystals within their beautifully-crafted tiles.

The Crystal Collection includes six patterns—Skulls & Crowns, Robots & Hearts, Corals & Seahorses, Flash, Stars and Rain—all reduced into basic forms, outlined on monochromatic backgrounds in the tones of white, blue and black. While Skulls & Crowns offers bold imagery of corsair-inspired skeleton heads and royal crowns that have become ubiquitous with fashion the past few years, other patterns like Flash and Rain take on a more subtle approach with small shiny circles casting a peculiar depth effect.

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The new collection is available in Bisazza flagship stores around the world as well as at selected retailers.


Open for Branding Week 2: Look Before You Leap

pimg alt=”openforbranding.jpg” src=”http://s3files.core77.com/blog/images/openforbranding.jpg” width=”468″ height=”306″ class=”mt-image-none” style=”” / /p

pema href=”http://www.dcontinuum.com/content/”Continuum/a continues their series Open for Branding, where they are sharing, from start to finish, their latest branding project for the new, nomadic a href=”http://designmuseumboston.org/”Design Museum Boston/a. They’re asking for your input, so don’t hesitate to leave your feedback in the comments below./em/p

pNow that we’ve kicked off the project, where do we begin? If you jump right into design, you could go anywheremdash;the world of possibility is too big. First, you need to take a step back and establish some parameters. /p

pAt Continuum, we develop thematic approaches to do this. By having a conversation around several approaches, we start to set boundaries to focus the creative direction. In this week’s post, we’re presenting three approaches that we’ve developed for Design Museum Boston./p

pEach of the theme boards dials up two of three brand pillars to show how emphasizing different aspects of their identity would translate visually. The themes are expressed using found images, typography, and key words. We also show examples of other museums and analogous brands that have similar styles. This is an integral part of the design process because it allows us to understand what’s out there and where this museum fits inmdash;ultimately helping us to craft their voice in the market. /p

pimg src=”http://s3files.core77.com/blog/images/2010/08/dmb_core77_BrandPillars.jpg” width=”468″ height=”306″ alt=”dmb_core77_BrandPillars.jpg”//p

pThe museum’s organizational pillars are to educate, unite, and demonstrate. They aim to educate the public on the role of design, unite the public and the design community, and demonstrate examples of strong design. Our brand pillars are dynamic, smart, and bold. In choosing these pillars, we hit on words that visually express their organizational pillars. /p

pLater this week, we’ll share the thematic approaches with museum directors Derek Cascio and Sam Aquillanomdash;engaging in a dialogue around different visual styles and learning what resonates with them. strongGiven the a href=”http://designmuseumboston.org/about/vision-mission/”museum’s mission/a, we’d like you to weigh in on which direction you feel is the strongest and which elements you think resonate best. What else would you add?/strong/p

pThrough the course of the meetingmdash;coupled with your strategic feedbackmdash;we’ll hone in on a cohesive approach to take the identity to the next phase of development./p

pFollow the jump to check out excerpts from our theme boards, and be sure to click on each image to view the full board at a larger size. /pa href=”http://www.core77.com/blog/featured_items/open_for_branding_week_2_look_before_you_leap__17066.asp”(more…)/a
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The Strategic Arc of Interaction Design: Moving Towards Holistic System Design, by Steve Baty

div style=”align: right;”img src=”http://s3files.core77.com/blog/images/2010/08/baty-bikecheckout.jpg” width=”468″ height=”351″ alt=”baty-bikecheckout.jpg”//div

pemThe ticketing machine of the new Melbourne Bicycle Share scheme. Melbourne, Australia. Photo: a href=”http://www.flickr.com/photos/andersondotcom/4654549203/”Gavin Anderson./a/em /p

pDesigners of interactions have the opportunity to move their purview beyond the shallow plane of interaction into the design of systems, organisational capability and culture; to tackle very complex problems and affect profound and lasting change./p

pDesigning the interactions people have with other people, with organisations, and with systems is both a simple and a complex undertaking. Simple in that the mechanics of an individual interaction can be well-defined and articulated. The problem, and the solution, can be narrowed down significantly. Indeed, so simple can interaction design seem at times that the discipline is often collapsed to a plane of request-response interfaces that sit between the participantsmdash;the design of a web form; the layout of an ATM machine; or a ticketing booth for a public bicycle share scheme. In this quite narrow and shallow view of interaction design the designer is responsible for little more than the layout of the interface and the choice of means through which request and response can be communicated. /p

pThis simplistic view of interactions and their design, is not the only view, nor the most appropriate. When designers apply their more holistic lens to the design of interactions it becomes clear that the practice is a much more complex and deeper undertaking./p

pbr /
bA Critical Pillar of Success/bbr /
Zooming out a little, we can see that an interaction generally forms a part of a much longer series of activities undertaken in pursuit of a goal. The web form represents one step in a purchasing process. The ATM machine is one of several channels through which deposits and withdrawals might be made. The ticketing booth opens the door to a convenient and energy-saving form of transport. From the perspective of the ‘user’ or ‘customer’ this series of interactions builds to create an experience in which each interaction is a ‘moment’. The quality of the experience is unique to the participant, and draws on a lifetime of experience and expectation./p

pLooking at this resultant experience, the focus and target of experience design, we see a lifecycle that maps to the participants’ end-to-end engagement with a product-service system. In doing so, we see that the design of interactions forms a critical pillar of success for that product-service system and one which directly influences and shapes strategy. The strength of that influence will vary depending on the nature of the product/service, but is always present. For example, a poorly designed online checkout process can act as a critical obstacle to purchasing. The ATM machine forms part of a convenient, and relatively low-cost service channel, where the interface plays a lesser part to the design of the overall network. In the example of the bicycle-sharing scheme, the ticketing machine could cause frustration or worse, but the availability of bikes, and the convenience of both locating and returning them will also play a significant part in the customer’s experience./p

div class=”article_quote”A parent wrestling with a grumpy child will approach an ATM transaction differently to the businessman enroute to an important lunch./div

pWe also need to acknowledge that products and services are utilised by people differentlymdash;at different times, at different volumes, in different places. And yet, if our target continues to be a consistent and coherent experience, then we must also design the transitions between interactions. The role of the interaction designer becomes one of system design, where the agents of the system may be individuals, organisations, or technology. /pa href=”http://www.core77.com/blog/featured_items/the_strategic_arc_of_interaction_design_moving_towards_holistic_system_design_by_steve_baty__17064.asp”(more…)/a
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Montreal’s cheeky Studio Rita

pThey’ve designed stacking/folding chairs that resemble manila file folders; /p

div style=”align: right;”img src=”http://s3files.core77.com/blog/images/2010/08/0studiorita001.jpg” width=”468″ height=”952″ alt=”0studiorita001.jpg”//div

pthey’ve populated forests with giant foam “Magic Tree” air fresheners and Lego trees; /p

div style=”align: right;”img src=”http://s3files.core77.com/blog/images/2010/08/0studiorita002.jpg” width=”468″ height=”863″ alt=”0studiorita002.jpg”//div

pfor ref-hating soccer fans, they’ve made a beanbag filled with dreaded, shredded yellow cards. /p

div style=”align: right;”img src=”http://s3files.core77.com/blog/images/2010/08/0studiorita003.jpg” width=”468″ height=”702″ alt=”0studiorita003.jpg”//div

pA HREF=”http://ritaritarita.ca/en/” Studio Rita/A is a Montreal-based design agency with a cheeky sense of humor and tons of creativity, and IThe Ampersand’s/I Natalie Atkinson gets in A HREF=”http://arts.nationalpost.com/2010/08/03/festival-mode-design-montreal-studio-rita-the-next-big-thing/” a quick interview/A with principals Stephane Halmai-Voisard and Karine Corbeil on the eve of Montreal’s A HREF=”http://www.festivalmodedesign.com/” Festival Mode Design/A, which starts tomorrow. /p

pThe interview is tightly written, but will leave you wanting more; check out the rest of Rita’s book A HREF=”http://ritaritarita.ca/en/” here/A.br /
/pa href=”http://www.core77.com/blog/object_culture/montreals_cheeky_studio_rita_17071.asp”(more…)/a
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An industrial design project using no computers, start to finish

pA friend who works as a toy designer recently told me her new intern–an ID grad–had never used a glue gun! And I wonder if today’s ID grads know what graphite smells like. I believe my graduating class was one of the last to learn drafting the old-fashioned way, with an assortment of mechanical pencils./p

pNowadays most ID curriculums revolve around the computer, whether for modeling or drafting. I don’t mean this to be another “When I was your age” type of post; but I just came across “The Decanter,” a promo video from design consultancy A HREF=”http://landor.com/index.cfm?bhcp=1″ Walter Landor and Associates/A, which details the design process of the titular product way back in the 1960s, before I was even born. /p

pIf someone dropped a project on you today to design a decanter, you’d probably look at pictures of other decanters on the web, and do your drafting and modeling on the computer, which you’d also use to e-mail the client for updates and feedback. What the heck would you do in the 1960s when, needless to say, they didn’t have any computers to run the design through?/p

pMany of you may be curious as to how they got projects like this done back then. Here’s to hoping you’re fifteen-and-a-half minutes worth of curious, as this video Iwas/I edited in the 1960s (the project doesn’t even really start until 1:23 into the video). Check it out:/p

pobject width=”468″ height=”351″param name=”allowfullscreen” value=”true” /param name=”allowscriptaccess” value=”always” /param name=”movie” value=”http://vimeo.com/moogaloop.swf?clip_id=12861872amp;server=vimeo.comamp;show_title=1amp;show_byline=1amp;show_portrait=0amp;color=00ADEFamp;fullscreen=1″ /embed src=”http://vimeo.com/moogaloop.swf?clip_id=12861872amp;server=vimeo.comamp;show_title=1amp;show_byline=1amp;show_portrait=0amp;color=00ADEFamp;fullscreen=1″ type=”application/x-shockwave-flash” allowfullscreen=”true” allowscriptaccess=”always” width=”468″ height=”351″/embed/objectpa href=”http://vimeo.com/12861872″Design story: The Decanter/a from a href=”http://vimeo.com/landorassociates”Landor Associates/a on a href=”http://vimeo.com”Vimeo/a./p br /
/pa href=”http://www.core77.com/blog/education/an_industrial_design_project_using_no_computers_start_to_finish_17070.asp”(more…)/a
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Must Have Now: BYO Wine Labels From ‘The Creative Method’

imageThe workers and brainstorm experts behind The Creative Method weren’t kidding with their name. They’re known for having the most innovative and unique ideas that are both fun and practical and there BYO Wine Labels are no exception. Originally made as a gift to a client, members of The Creative Method wanted to give something that was a little more personal as well as reminded the client of the people behind all the hard work and great ideas. They sent bottles of wine featuring labels that they put together themselves out of stickers of their own features. One thing led to another and now the BYO (Build Your Own) Wine Labels are available to the general public and include a bottle of wine and a sticker page of personalized features that you can arrange before gifting, or let the giftee have the fun themselves! A bottle of high-quality wine and a BYO Wine Label is not only a fun gift, but also a perfect solution for making an appearance even when you can’t make it there in person!

Where to Buy: The Creative Method

Price: Please inquire through site

Who: Idabone was the first to add the ‘BYO Wine Labels by The Creative Method‘ to the Hive.

iWood for iPhone 4

Miniot has released the new iphone case. So sexy in all its woodness.

Inspired by Randomness, or “In the digital age, do we really need thumbtacks?”

div style=”width: 468px; height: 30px; position: relative; left: 50%; margin-left: -234px;”div style=”float: left; padding-right:8px;”a href=”http://thirdparty.fmpub.net/click/264498?r=http://veer.com”img src=”http://www.core77.com/images/veer_nav_logo_small.png” width=”40″ height=”30″ alt=”Veer.com” title=”Veer.com” //a/divp style=”padding-top:10px; font: italic 14px ‘Times New Roman’, Times, serif;”This post is part of the Inspiration series, made possible by a href=”http://thirdparty.fmpub.net/click/264498?r=http://veer.com” style=”font: italic 14px ‘Times New Roman’, Times, serif;”Veer.com/a./p/div

pbr /
div style=”align: right;”img src=”http://www.core77.com/blog/images/2010/08/polaroid.jpg” width=”468″ height=”479″ alt=”polaroid.jpg”//div/p

pWith so much time spent hunched over computer monitors, the Core77 office pondered whether an LCD monitor with a full-spectrum backlight would soften the pain of a sunless day. Sadly, the retinas of our eyes would be worse for the wear. While grueling computer sessions have long been normal for World of Warcraft enthusiasts (well, maybe normal’s not the right word), digital tools for art have become so functional that much of the creative process now begins and ends with ones and zeroes./p

pWhen we were first introduced to the Wacom Cintiq monitor, the industrial designer demonstrating it quested for the perfect line by scratching his pen across the monitor in arc, pressing undo and repeating the process until he got emexactly/em the curve he was looking for. It was nice to be gazing over his shoulder, but by the end of the demo, there were no crumpled papers, no errors and no record of work. What the designer was trying to achieve was the line quality of a madly sketching artist, coupled with the precision of a draftsman. Before Ctrl+Z, the mashup of those two characteristics was unthinkable, or would have left a trail of abandoned sketches in its wake. Our Wacom pilot, however, had none of the frenzied enthusiasm of an artist discovering the image as it appeared on the page. Instead, he’d become focused on a perfecting a repetitive task, and making his image look emexactly/em the way it did in his mind’s eye. Sadly, this approach seems to be rewarded for the individual worker, but thankfully when creatives gather, things look decidedly more old-fashioned./p

pimg alt=”ISP2142526.JPG” src=”http://www.core77.com/blog/images/ISP2142526.JPG” width=”468″ height=”702″ class=”mt-image-none” style=”” /br /
The hallmark of innovation in most design offices is not a lone designer toiling amid crumpled sheets of paper or in front of a computer screen, but instead a group of people gesturing, shouting and occasionally laughing at a wall of sketches and photographs pinned to corkboard. Although a collage of images that imperfectly represent the product seems an unlikely focal point for innovation, the visual message that they projects can inspire in unexpected ways. While a perfect finished model suppresses insight, loose sketches, unfinished models and unrelated photographs allow the brain to fill in the blank. The humorless intensity with which CAD jockeys focus on their work allows for iterative improvements, but rarely inspiration and certainly not laughter. A team, however, gathered around a collage of visuals, from fast sketches to barely related found photographs, can find a vista open enough to really fuel or divert the creative process, and that that’s a value worth preserving, even once the thumbtack is forgotten./p

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