I took two weeks off work while the rest of the gang was in London for a conference to go surf camping down the West coast. I’m on the last leg of the trip and it’s been absolutely phenomenal.
I’m camping out of my Prius. A little awkward but it’s been just fine. Luckily friends down the coast have kept me company and offered their couches.
For the fellow sliders out there, I brought my 8’3 Malwitz noserider, 6’2 Hobie “Mini Bird”, and a 5’11 Taylor quad fish. Unfortunately my 2 new customs weren’t ready for the trip, so brought the old sleds. It’s turned out to be a pretty well rounded quiver for the slow summer conditions. I’ve mostly ridden the Hobie.
I’m keeping a blog, so if you’re interested – feel free to follow along. Lots of photos.
I’m very pleased to announce that not only will I be speaking at the next FITC, but it will be right here in San Francisco, August 16th-19th, 2010. I’ve presented at FITC numerous times in the past — recently Toronto and Amsterdam — and it’s always an incredibly immersive and educational experience. For the uninitiated, FITC is a series of events focused around interactive platforms like Flash, Flex, and AIR, along with animation and motion/film. But that’s just sort of the core of it, there are all sorts of other design related topics being covered (case in point: the fact that a print designer / musician like myself is involved). Basically just a very inspirational event centered around design and technology. Also, they have incredible parties each night often involving boats and free booze.
For the San Francisco event I’ll be speaking a bit about my background, process, and theory along with some walkthroughs and presentations of recent work. For a rough idea of the style of my presentations have a look at my Academy of Art lecture from April (although this was geared for the students in the Academy program, as opposed to professionals, so it was a little different from what I normally do).
FITC always stack the events with great speakers but this SF date seems to be the most epic yet. It’s the only where you’ll see Yugo Nakamura, Colin Moock, Erik Natzke, Kyle Cooper, Jared Ficklin, Kevin Lynch, and Robert Hodgin (along with over 60 others). It’s also probably the last time I’ll be speaking in 2010 as I finish up the Tycho album and prepare for touring.
Early bird pricing for the event ends Friday July 2nd, so be sure to get your tickets now (they also sell out very quickly, so if you don’t get in on the early bird be sure to get them soon after). You can register here. Enter code “isofifty” under discount code to get an additional 10% off the registration.
I don’t know quite how to describe Feric Feng. His site describes his work as a “surreal blend of the natural and mechanical” — which is an apt description, if only lacking in deserved adjectives of praise. ‘Gorgeous’, ‘innovative’ and maybe ‘spell-binding’ would be my additions. For me his renderings conjure aspects of the work of Si Scott. Something about the complexity and super minute detail. Such detail that most people probably don’t even perceive the intricacies of the work; rather it just looks “complicated” until you look further and realize how much consideration and attention each element has been given. I have my eye on a few of his prints.
catalogtree is a multidisciplinary design studio based in Amsterdam. Their work is instantly recognizable for its complexity and exceptional clarity; a combination not easily achieved. Their ability to compress large amounts of data into these gorgeous infographics is unparalleled. Joris Maltha and Daniel Gross are the designers behind catalogtree and I had the pleasure to ask them a few questions before I left for Tokyo. Their answers and some example work after the jump.
What were your goals when you initially set up shop?
We never really set up shop and in a way this is our goal. To not have a shop and be amateurs at what we do. Right now we’re working on a 232 meter long radio antenna and are building a crystal radio to receive a local pirate station. We have never done this before and have no idea if this project will succeed.
I’ve been on a car kick lately. Not only are they excellent examples of functional design, there’s something about the quality of 60s-70s concept car photography that always gets me. This latest entry is the 1978 Mercedes-Benz Study CW311. Designed solely as a concept by Eberhard SchulzIsdera for Mercedes Benz, it was later put into production as the Isdera Imperator 108i. You may recall the post on the Mercedes Benz C111, a concept which Shulz also developed.
I feel like this was the era right before everything started looking like alien technology or some sort of bird. It seems like in high end conceptual situations like with supercars, the designers are always trying to envision some object from the near future. I guess I prefer the near future imagined in the 1970’s over that of today.
I love the lines, really aggressive but the overall vibe is softened by the sort of roundness of the thing. I’m definitely getting an Italdesign/DeLorean vibe off the windows. Also, picture kicking it with a Lufthansa airliner? Classy. And I’m loving the roof mounted rear-view; something very utilitarian about that. On a side-note, I feel like if a car could be a typeface, the CW311 would be Trade-Gothic Bold Extended.
And to top it off, a very VHS-ish video featuring the CW311 (with poor choice of substitute wheels):
Special thanks to AJJB for turning me on to Shulz’s work back in the C111 post. AJJB also pointed out that Shulz is now “selling cheesy oil paintings out of a small town in Germany”. Interesting and sort of sad too…
I’ve sort of had my head down for the past couple months really digging into the recording of my next album so I thought I’d post up some shots from various sessions. Recently, guitarist Zac Brown (of Dusty Brown and DoomBird) has been coming in and contributing parts to some songs. It’s one of the first times I’ve collaborated with another musician and it’s been a great experience. It’s also been fun to wrap my head around recording guitar amps, something I had limited experience with before as most of my songs are written and recorded on my acoustic guitar with the keyboard and drum parts added later. It’s always exciting to find a new sonic texture to work with and it’s definitely an inspiring process to see your vision for a song expanded on by someone else.
If you’ve been following along with the album’s progress, you might have noticed the somewhat protracted nature of the whole thing. It’s been a test to say the least trying to keep on track with music while staying on top of the ISO50 side of things. There was definitely a long period where all I wanted to do was write new songs but not finish them, which is the hardest part for me. The good news is that because of this I now have a few albums of solid material, but the bad news is that it delayed the process of this one getting out. But that’s all behind me now and the past couple months have been the most productive of my musical life. The only problem is that I now have this self-imposed feeling that I’m behind and when I’m feeling that way I can sometimes forget to relax and enjoy the process of creating. It’s funny how much design and music differ in this way for me. While I see the processes of creating both as very similar, I don’t feel I can really sit down and just get music done in the same way as my visual work. It’s easy to say I’m going to devote three nights to a poster and be pretty confident it will get done and I’ll be happy with it. With music it’s always a much longer and drawn out process with more intangible milestones along the way.
The beauty of this entire process and the time devoted to it is that I’ve been allowed the luxury of perspective, something that’s very hard for me when I have to be neck-deep in a project from beginning to end with no breaks. The time has allowed me to continually reevaluate what the work is supposed to be and how best to do the material justice. Most of my songs start out as very small sketches, usually a guitar part and a keyboard part recorded quickly. I then set it aside and move on to something else. When I finally come back to an idea to develop it into a full composition my biggest fear is that I will somehow lose the meaning or the soul of it in the process. The problem is that as I’m adding new parts I start to go on tangents and the song can become something completely different. Sometimes this can be a good thing, but in other cases it takes time to be able to look back and realize that the original idea has been muddled in some way by the initial excitement of discovery. Problems like this tend to disappear when I allow myself to revisit work over time.
Overall, I feel close to wrapping up the production/arrangement phase but then comes mixing and mastering which can be time consuming. My goal is to have things sewn up by, at the very latest, end of summer. But putting time-lines on things doesn’t exactly serve the artistic process, at least not mine anyways, so I’m trying my best to pretend that goal doesn’t exist.
I’ll try to post some more pics / videos as things progress. And on a related note, Yourstru.ly has been filming a piece on the making of the album so there should be some interesting stuff by the time that’s done.
One of the best tracklistings and mixes i’ve seen and heard in a while is this one from St. Louis’ Phaseone that Pitchfork posted yesterday, download it here. Check the tracklist out to see if your interested, i’m sure many of you will be very pleased:
TRACKLIST Slowdive – Miranda Curren$y – I’m just dope Aphex Twin – Fingerbib Nite Jewel – Want you back (phaseone remix) Lukid – Hair of the dog Talking Heads – Listening wind Tricky – Bad dream Polanski – punked out J Dilla – Oxtopus boom boom Falty DL – Made me feel so right James Pants – Shower party Fleetwood Mac – Isn’t it midnight Teebs – Humming birds Actress vs. Zomby – Aazz2 Phaseone – Sandra
I was hired about three months ago to design a logo and consult on the brand identity for Plancast, a local San Francisco start-up founded by Mark Hendrickson and Jay Marcyes. As you can probably guess from the name, Plancast a way to broadcast your upcoming plans to your friends; or as it’s often described, Foursquare for the future. The site is exceptionally easy and helpful, and I encourage you to check it out.
By the time I joined on Plancast was up and running, but they were without a logo or distinctive visuals. I began work in December and we agreed on the finished logo a few weeks ago. The project was easily the hardest I have ever completed — as well as the most fulfilling. I almost destroyed myself developing this logo and I am really excited to share the process with you here.
