Over at Tccandler there’s a post on "The 100 Greatest Movie Posters". It’s a nice collection and while most are not aesthetically quite my style, they are all successful in one way or another. I’ve included one of the few I would actually hang on my wall above, Saul Bass’ poster for Alfred Hitchcock’s Vertigo. Link
Some amazing designs by German Industrial Designer Luigi Colani. I particularly enjoy the aerospace stuff, reminiscent of the Soviet Ekranoplan. I can distinctly remember seeing that truck design when I was younger; funny how things like this make their way back to you. Via Dark Roasted Blend
Skalpel are a jazz duo from Poland on Ninja Tunes, they sample 50s-70s Polish Jazz and piece together tracks. I always liked the video for this song and the raw lo-fi recording did it for me everytime. It reminds me of The Avalanches alil but not as uptempo, i’ll post something from them soon.
Skalpel – Sculpture
"This is a new Nestle Chocolate Museum in Mexico City designed by Rojkind Arquitectos in origami style. When things of a chocolate museums an image of a house in the shape of a chocolate bar pops into mind, this museum is in the shape of origami and looks great. The museum displays Nestle’s chocolate products and now is welcoming visitors. It took 75 days to design and build."
It always surprises me how few people have heard of the German musician Ulrich Schnauss. He’s one of my favorite electronic producers but whenever I mention him (to people I consider to be knowledgeable about music) they usually just shrug and ask who he is. I saw him open for M83 in San Francisco a few years back, it was pretty intense, but he just sort of pounded away on a Siel synthesizer the whole time, no visuals or anything. Was cool to see it live, but the stage presence was a little disappointing; I guess I was expecting a singer or something (he always has those sort of ethereal vocals woven through his mixes). At any rate, I’d have to say that A Strangely Isolated Place is his best album to date, and while it’s hard to pick a favorite track from such a solid release, this song certainly ranks up there.
Ulrich Schnauss – In All The Wrong Places
After reading Jefta’s comment in the J.Casey piece I realized I hadn’t been posting much of my own work lately so I decided to put up this wedding announcement I did for my friends Paul and Lisa. I normally wouldn’t post personal work of this nature but I was happy with the result and thought it would make a good exception. To tell you the truth, these are usually my favorite projects; there’s no money involved, no client to compromise for, and no concerns over whether it will be well received by the public. Sadly, it seems this sort of project is the exception not the rule which is unfortunate given that most of us started out in this business purely out of love and enjoyment of art and the process. The other good part of these projects is the timeline, or lack thereof. But as usual, I put this project off until the last minute so I only had a night to complete it, which ended up making it a bit more enjoyable as I knew there wouldn’t be the inevitably endless revision process to attend to after completion. As this was intended to look like a retouch or a painted piece, I was a bit more free to be heavy handed with the lighting effects. This would have been far more difficult if I was going for a photo-realistic look.
So when my friends approached me about creating this we threw around various ideas. In the end they came up with the idea of combining photos of them as kids. Unfortunately all the photos I had to choose from were very different in terms of lighting and color. I’ve never considered myself much of an expert at photo manipulation but this project made me realize just how little I really knew about the process; I definitely struggled trying to get the two photos (pictured below) to look right together. The shot of Lisa was an artificially lit, indoor studio portrait, the other an outdoor snapshot, so it was tough to get the lighting right. I decided to use Lisa as the reference point since she was well lit and then bring Paul closer to that tonal range / lighting condition. The original shot of Paul was taken at dusk as the sun was pretty low in the sky behind him so I ended up doing a lot of gradient masking of color balance and curves transition layers to compensate for the overly dynamic lighting that resulted from the conditions of the original shot. The background imagery had to be scaled up a bit, I cloned one of the windows and did some tweaking to the contents to make room for the added subject. Finally, I added some shadows to Paul’s right side to account for the new position of the lighting and Lisa’s position relative to his.
As for the art direction, I wanted this to feel a lot like an illustration or painting so I did a lot of dynamic lighting, unsharp mask, and some artistic filters to shift it in that direction. The imagery of the existing studio shot of Lisa had a distinctly European thing going on so I tried to push further in that direction to evoke a sort of vintage Swiss-era poster vibe. For that reason, and because this was just the announcement and not the wedding invitation itself, I chose the Futura typeface to give it a fresher feel (than a typical wedding invitation) while at the same time maintaining a sort of classic design sensibility. And of course I went with some loose kerning to give it that Anderson-esque vibe.
Finally I applied some paper effects (blending mode stuff etc.) to give it a real world feel. I have a bunch of vintage poster reproductions hanging around my house and always enjoyed that copy-camera style they give off. While I was overseas a couple years ago I went to a gallery that had a lot of the originals of the stuff I have at home and I got to see them in person. I realized I actually enjoyed the reproductions more, they have a nice grain and vingetting that didn’t show up in the originals (which were typically painted and so also didn’t show the yellowing of aged paper and ink.) This is the kind of aesthetic I am usually trying to achieve in most of my poster work, I want it to feel like a reproduction of an original printed piece.
All in all this was a fun project, I think we as designers should take on more work like this. Free work for friends always helps reacquaint me with the aspects of design that drew me to it in the first place; it gets me excited about the process again, an emotion that I think easily spills over into the jobs that come after it.