Back in my days in Sacramento I spent a couple years at BKWLD, a small web shop in Roseville, CA where I got to work closely with fellow designer Jeff Toll (aka Jeff Doe). Jeff has recently launched his personal portfolio showcasing a lot of the excellent web work he’s done as creative director for BKWLD. I’d urge any web designers looking for inspiration to have a look, there are some great examples in there (including the FWA site of the day he did for The Wreckers).
The ISO50 Snowboard Giveaway officially ended yesterday and a winner has been picked. So, without further adieu, the big winner is… Neil Loehlein of Portland, OR. Neil will be receiving the ISO50 / Forum Devun Walsh board which he can hopefully put to good use up on Mt. Hood. I’ve decided to do a second runner-up drawing for some shirts and posters so I’ll be notifying those winners shortly. Thanks to everyone who participated, next year I am planning on doing another snowboard and/or ski giveaway so keep an eye out for that.
Just a quick update for the Ghostly 10 Year Anniversary Show coming up March 6th. Fellow San Franciscan Christopher Willits has just been added to the bill (see updated flyer above). In case you don’t know, Willits makes all sorts of dreamy, shoe-gazey, guitar electronica and also drops audio science all over the placein the form of his “What You Talkin’ ‘Bout Willits” series for XLR8R TV. The tickets are selling out fast so get yours now!
Wired has an interesting article about the new F1 rules and the resultant car designs (McLaren MP4-24 pictured above). It details how new rules for the sport — which many expected to create a significant design challenge — have actually served to beautified the new models. These things are starting to look like they can fly and if it weren’t for the fact that your work would be ruined by about 800 ads, designing the paint for one would be a lot of fun. Check out the Wired article here.
Eley Kishimoto make some very well designed fabrics and wallpapers. Self-described “surface decorators”, the London based firm has been designing textiles since the early ’90’s. More info at their site and their blog.
The top two are meant to be wallpapers and while they’re incredible to look at, I’m not sure I could handle that pattern going on all day. Maybe one small wall in the studio?
I stumbled across this incredible piece by Michael Paul Young today. Young — the man behind Designgraphik and co-founder of We Work For Them — created this image for the band Omega Code. More info on Young and this piece can be found here. Always nice to see such incredible print work still being produced; sometimes I feel like the only good stuff is decades behind us and then something like this pops up.
A while back Computer Arts magazine asked me to write an illustration tutorial for an issue which focused on textures. The idea was to revisit the classic Bob DylanBlowin’ In The Wind / Mister Tambourine Man poster. I really enjoyed the project and ended up using the resulting image as the basis for my Progress Austin concert poster. Computer Arts has made the entire article available on their site as a PDF which you can download here. They’ve even made the original source files available so you can follow along with the tutorial. If you have any questions feel free to post in the comments and I’ll try and fill in any blanks.
“Creating eye-catching imagery for print can be a balancing act between the two distinct worlds of computer-based design. Scott Hansen shows you how to get explosive results in Photoshop…
The strengths and weaknesses of vector and raster graphics have long been apparent: vector is known for its clean lines and resolution-independent scalability whereas raster has a more photographic nature. Although vector graphics are particularly suited to print work thanks to their scalability, there are some things you can’t do without bringing rasters into the picture.
In this tutorial we show you how to bring together both vector and raster elements to create a seamless piece that sits well in both worlds. The concepts we explore will lend a timeless, weathered feel to what would otherwise be a rather stark design. Relying on Photoshop’s powerful raster tools and quite adequate stable of vector tools, we can tap the strengths of both without leaving the familiar realm of Adobe’s most powerful graphics app. We can unite two styles of design by employing Photoshop’s powerful blending mode options along with advanced gradient masking techniques to produce an illustration style that is truly unique.”
Some classics via Helloairecords. It always amazes me to see such forward thinking design from this period. It’s 1955 and design this evolved already exists, it’s incredible. Of course, this is Europe. Unfortunately, most of us in the states were too concerned with Elvis and Marilyn Monroe to appreciate the finer points of the grid system or minimalist design theory. There is something very pleasing about such simple shapes and colors modulated by the quirks and imperfections of the analog printing process, it really brings life to the composition.
