From Designing Programs by Casey Reas and Chandler McWilliams.
Writing software is something that’s not typically associated with the work of a visual designer, but there’s a growing number of designers who write custom software as a component of their work. Over the last decade, through personal experience, we’ve learned many of the benefits and pitfalls of writing code as a component of a visual arts practice, but our experience doesn’t cover the full spectrum. Custom software is changing typography, photography, and composition and is the foundation for new categories of design practice that includes design for networked media (web browsers, mobile phones, tablets) and interactive installations. Most importantly, designers writing software are pushing design thinking into new areas.
The asked a number of designers the impetus for writing their own software, and how it has impacted their work.
AP has a new look for the first time in thirty years. The creative system for the rebrand was developed by Brooklyn design firm Objective Subject.
Our iterative process generated an option with a red underscore, which we dubbed ‘the prompt,’ that evokes AP’s emphasis on editorial rigor and precise and accurate approach. Setting the letterforms in black on a white backdrop proved to further highlight these values, while improving contrast and legibility. Using a consistently white backdrop further improved the strength of e mark in the variety of environments it needs to live in.
We retained the original logo’s stencil lettering, which embody the gutsy and adventurous personality of an international news organization. Redrawing the letters upright speaks to AP’s integrity, while lending a more contemporary feel to the mark.
Be sure to check out the process video to get a feel for the brand mark’s development.
The AP has more information in the form of a dry press release (imagine this is the look they’re trying to avoid). They also have a placeholder up for their new website, with a link to a PDF of the brand introduction, which features the following image detailing the evolution of the logo.
Congratulations to my friends at Objective Subject on a great job. Look forward to seeing the new system in the wild.
I’m a fan of the new identity for Bauhaus Dessau, created by HORT.
We thought a generic design would work best in order to make this distinction. The new identity was created by using strict typography, a minimalist layout, standardised formats and no colour. Being the most generic and incidental typeface, Courier was selected as the new corporate font. To guarantee a unique identity we changed the capital “A” of Courier according to Herbert Bayer’s well-known logo on the front of the Bauhaus Dessau building.
The identity also makes use of Arial, presumably due to its prevalence on most machines.
If you missed the Isotype exhibit (more) at the V&A, no need to worry. Jasso posted a set of photos from out visit in December. You may also be interested in The Transformer by Marie Neurath and Robin Kinross.
A selection of open source ampersands for use in web design. The ampersands have been packaged up into one characters in a webfont format. The site was inspired by Dan Cederholm’s article about using the best available ampersand.
Frank Chimero’s illustrated 16 Activities for Creatives is available for your viewing pleasure. A partial list of the activities:
- Make things difficult for yourself.
- Mix things up.
- Add more, until you cannot.
- Be cliché.
- Be honest.
You can purchase a physical copy for €5 from Corraini.
It’s possible that we may see work from the old Swanky and Swankarmy crew — the old archives have been found. From a tweet by Dustin Vannatter:
I found a series of 20+ CDs that contain a fs dump of all Oh, Hello projects inc Scribble.nu and Swanky.org .. going to try to restore it.
Swanky was one of the first design communities on the internet in the late nineties. They were heavily inspired by the work of David Carson; a lot of grunge and distorted typography. It wouldn’t be a stretch to say that it was an influence on a huge number of designers. Scribble was a journal site, a sort of precursor to weblogs.
I found the scene in 1998 when it was beginning to implode. Still, Swanky was one of the reasons I started getting interested design. It also led to my discovery of typography and the creation of a bunch of crappy typefaces, before realizing that it took a lot of effort to make a good one. I was never a member of Swanky, but ended up forming Suffocate.org with a number of ex-members. We had themed issues and a number of side-projects — including the Conform Project, which was similar to Layer Tennis. Most of my Suffocate work is lost, but I found some of the early Conform series in an old archive, and posted them a few years back.
I’d love to see the old Swanky stuff, brings back a lot of memories. As for Scribble, I don’t know if the world needs my high-school ramblings, but it could be an interesting historical archive.
Despite whatever you’ve been told in the past, you should only put one space after a period, not two.
Is this arbitrary? Sure it is. But so are a lot of our conventions for writing. It’s arbitrary that we write shop instead of shoppe, or phone instead of fone, or that we use ! to emphasize a sentence rather than %. We adopted these standards because practitioners of publishing—writers, editors, typographers, and others—settled on them after decades of experience. Among their rules was that we should use one space after a period instead of two—so that’s how we should do it.
In my high-school typing class, we were working on ancient ICON computers which used monospace type, and were told to leave two spaces after a period for readability. I then spent years developing muscle-memory that had me double-tapping the spacebar after every full-stop. In university, I started writing for one of the newspapers and got yelled at for putting in double spaces and messing up the copy-setting — I learned quick. Fast-forward to book design, and given any sort of manuscript, getting rid of the double spaces is one of the first priorities. Remember, just one space.
David Carson returns to print with CARSON mag. His work with Raygun was familiar to anyone dabbling with grunge design in the nineties. It takes me back the early days of the web design scene with the Swank Army and my old Suffocate crew.
