A great tutorial and guide by Baptiste Auguié. Helps explain how to layout multiple plots in a single window, and provides useful tutorial and examples.
A great tutorial and guide by Baptiste Auguié. Helps explain how to layout multiple plots in a single window, and provides useful tutorial and examples.
There's been a (lucky) stream of artwork flying around the internet. From Spoon and Tamago, this incredible cross section of life in Kowloon's Walled City: That reminded me of Mattias Adolfsson, whose illustrations are full of detail and whimsy: And then, today, Kottke linked to yet another illustrated cross section of a building -- this time Washington DC's Evening Star: He and others have pointed out that this looks comfortable amongst the works of Chris Ware, albeit a bit before his time. I highly recommend clicking on the above images to embiggen.
Pretty cool little reel. Lots of nice little touches. Shows a pretty deft touch at utilizing VFX to augment, not overwhelm, some great scenes. Unfortunately not embeddable. Watch it on Vimeo.
Continuing the trend of Wes Anderson related posts, I noticed the following in Fantastic Mr. Fox:
and we know about this in The Grand Budapest Hotel:
What (or who) the hell is a Klubeck? Screen Forever tells us that Rich Klubeck is a Partner at United Talent Agency… and that one of his clients is Wes Anderson:
Rich Klubeck is a Partner in the Motion Picture Group at United Talent Agency in Los Angeles where he has worked since 2003. Rich’s clients include Joel and Ethan Coen, Wes Anderson, Angelina Jolie, Ewan McGregor, Uma Thurman, Mike White, Scott Z. Burns, Drake Doremus, Lynn Shelton, Juan Carlos Fresnadillo, Paolo Sorrentino, Nicole Holofcener, Craig Gillespie, David Mackenzie, Miranda July, David Michod, Mike Mills, Dror Moreh, Sam Gold, Sergio Sanchez, Ziad Doueiri, and Fatih Akin. He also represents leading video developer and publisher Electronic Arts.
A collection of shots of the miniatures from the film as they were being created. The details are pretty incredible.
This is relatively old news in the world of the internet... but it's still a pretty awesome visualization. The story's full of interesting facts. For instance:
The distillery in Lawrenceburg, Indiana is known colloquially as LDI, but is now part of MGP, a food conglomerate that specializes in bioplastics, industrial proteins, and starches for use in salad dressings,energy bars, imitation cheese, and fruit fillings. One of the products made in the Indiana facility is a rye whiskey with a mash bill of 95 percent rye, 5 percent malt barley. Most rye whiskeys are no more than 70 percent rye. According to author Chuck Cowdery, this particular whiskey was developed by Seagram's as a flavoring agent for blended whiskeys like Seagram's 7. When Seagram's disintegrated due to mismanagement in the 1990s, the whiskey, then in the process of aging, was sold to other distilleries in the fire sale of assets, as one salvage company after the next tried to determine what to do with the distillery and its excess inventory. This is how one generic whiskey became known by more than a dozen names, including Templeton Rye, Redemption Rye, Bulleit Rye, Willet, Smooth Ambler, and George Dickel Rye, among others. The companies that own each of these brands have purchased LDI rye whiskey and now bottle it under their own labels, adjusting the proof and length of aging in order to create their own differentiations.
What the what.
Christmas in early November. Enjoy!
Pretty awesome little video from a French video production and graphic design firm. Not entirely sure about the veracity of the math or the visualizations… but that’s perhaps missing the forest for the trees.
Best viewed fullscreen.
This beautiful tome arrived today. The New Yorker summarizes it best:
Were it only for the text of his introductory essays and extended interviews with Wes Anderson, Matt Zoller Seitz’s book “The Wes Anderson Collection,” which discusses all seven of Anderson’s feature films in copious detail, would be an indispensable resource, as well as a delight….
But the text isn’t all there is to it: the book is entirely in the Andersonian spirit—it’s a beautiful object, not a coffee-table book (except in size) but one that’s designed and thought out to its slightest detail, with its amazingly wide and deep offering of visual documentation. (Far be it from me to diminish the images and artifacts by calling them “illustrations.”) Still photographs from the set, frame enlargements, storyboards, influences (from “Peanuts” to Holbein to Welles), references (record covers, school insignias), and memorabilia (newspaper clippings, casting snapshots) are matched with informative and discursive captions that play like stage whispers, and all are brought together with taste, insight, and joyful celebration.
The introduction by Michael Chabon praises Anderson as much as it reflects on aging and growth:
The world is so big, so complicated, so replete with marvels and surprises that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research “childhood.”
There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, failure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bitter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researcher’s heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ache first arises “adolescence.” The feeling haunts people all their lives.
Everyone, sooner or later, gets a thorough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouin tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again.
Two difficulties with this latter scheme at once present themselves. First of all, we have only ever glimpsed, as if through half-closed lids, the picture on the lid of the jigsaw puzzle box. Second, no matter how diligent we have been about picking up pieces along the way, we will never have anywhere near enough of them to finish the job. The most we can hope to accomplish with our handful of salvaged bits—the bittersweet harvest of observation and experience—is to build a little world of our own. A scale model of that mysterious original, unbroken, half—remembered. Of course the worlds we build out of our store of fragments can be only approximations, partial and inaccurate. As representations of the vanished whole that haunts us, they must be accounted failures. And yet in that very failure, in their gaps and inaccuracies, they may yet be faithful maps, accurate scale models, of this beautiful and broken world. We call these scale models “works of art.”
“The ache of cosmic nostalgia.” “The bittersweet harvest of observation and experience.”
RAW is a really impressive and easy-to-use data visualization tool created by Density Design. I created the following plot in about five minutes from existing GBD data (of DALYs in India for women of all ages).
The first column contains risk categories as defined by the comparative risk assessment of the 2010 Global Burden of Disease. The second column contains individual risk factors (each of which fits into an aforementioned risk category). The final column shows attributable DALYs by cause. Some color would help differentiate the different risks and causes, but the basic picture is clear if you spend a few minutes with the graph. Women in India, according to the 2010 GBD, predominantly lose healthy life years from CVD, chronic respiratory diseases, nutritional deficiencies, and infectious disease. A fair amount of this is attributable to air pollution.
To make this plot, I opened a CSV, copied its contents, pasted into a text field at RAW, and then used its simple, elegant GUI to generate the code for the plot. The options are a little limited now (would like to add some color, shift label positions around, etc). If I really wanted to make those changes, I could edit the code and do it manually. A really impressive showcase of what can be done in the browser and definitely worth checking out and keeping an eye on.
The Best American Infographics 2013 came in yesterday. It’s chock-full of goodness and inspiring visual displays of data. Some are nonsensical, some are dense and shocking. They’re all pretty engaging and the collection appears well-curated. Wired has a number of the selected graphics online.
The book’s introduction was written by David Byrne. I’ll add a link to the essay if it appears online. In the meantime, my favorite bit follows.
The very best of these, in my opinion, engender and facilitate an insight by visual means - allow us to grasp some relationship quickly and easily that otherwise would take many pages and illustrations and tables to convey. Insight seems to happen most often when data sets are crossed in the design of the piece - when we can quickly see the effects on something over time, for example, or view how factors like income, race, geography, or diet might affect other data. When that happens, there’s an instant “Aha!” - we can see how income affects or at least correlates with, for example, folks’ levels of education. Or, less expectedly, we might, for example, see how rainfall seems to have a profound effect on consumption of hard liquor (I made that part up). What we can get in this medium is the instant revelation of a pattern that wasn’t noticeable before.
One would hope that we could educate ourselves to be able to spot the evil infographics that are being used to manipulate us, or that are being used to hide important patterns and information. Ideally, an educated consumer of infographics might develop some sort of infographic bullshit detector that would beep when told how the trickle-down economic effect justifies fracking, for example. It’s not easy, as one can be seduced relatively easily by colors, diagrams and funny writing.
John Nelson, writing about the creation of these images:
Having spent much of my life living near the center of that mitten-shaped peninsula in North America, I have had a consistent seasonal metronome through which I track the years of my life. When I stitch together what can be an impersonal snapshot of an entire planet, all of the sudden I see a thing with a heartbeat. I can track one location throughout a year to compare the annual push and pull of snow and plant life there, while in my periphery I see the oscillating wave of life advancing and retreating, advancing and retreating. And I’m reassured by it.
Of course there are the global characteristics of climate and the nature of land to heat and cool more rapidly than water. The effects of warm currents feeding a surprisingly mild climate in the British Isles. The snowy head start of winter in high elevations like the Himalayas, Rockies, and Caucuses, that spread downward to join the later snowiness of lower elevations. The continental wave of growing grasses in African plains.
But, overall, to me it looks like breathing.
As part of an effort to save the Eames House and come up with a 250 year plan, the Eames Foundation is selling 500 copies each of 4 limited edition prints at 75 USD each. The prints are interesting and well-designed.
They’ve also got a great timeline up of the Eames’ achievements. Pretty cool and definitely worth checking out if you’re a fan of the Eames and their work.
Since the beginning, screenplays have been written in Courier. Its uniformity allows filmmakers to make handy comparisons and estimates, such as 1 page = 1 minute of screen time.
But there’s no reason Courier has to look terrible. We set out to make the best damn Courier ever.
We call it Courier Prime.
Re-envisioned for the 21st century and beyond. Real italics, a nice-looking bold. Optimized for screen and print. Typography geeks, rejoice. Free!
Courier Prime was designed by Alan Dague-Greene for John August and Quote-Unquote Apps.
Via Daring Fireball
The University of California system undertook a substantial rebranding effort, highlighted in the video above. It is a dramatic shift -�and without a doubt feels more modern. The impetus for the change as described by Vanessa Kanan Correa follows:
Previously, the UC system only used its seal as its primary visual identifier, where it was abused with impunity. We feel it is an important component of the university’s visual ecosystem. But it is a non-distinctive symbol which serves an important bureaucratic function. Now we limit its use to formal systemwide communications, diplomas, official regental and presidential communications, and other official documents. Many of our campuses, and other universities across the country have limited use of their official seals in similar ways.
From this perspective, this is less of a rebranding exercise, but instead the creation of a coherent, consistent, and relevant brand identity where before there was none.
Jury’s out on whether that’s a good thing or not — or how much it will actually impact design choices at each of the separate UC campuses. Probably minimally, at least initially.
The typographic choices are pretty safe — modern, but not too showy or strong. The designers chose Kievet, a sans-serif humanist typeface in the vein of Source Sans or Droid Sans. Kievet has a number of weights and a corresponding web font.
The initial work on FF Kievit began in 1995, as part of a school project. The concept was finished several years later for a corporate client of Method Inc., a design firm in San Francisco. The openness of the characters and their proportions makes it an ideal typeface for use in small print. The clarity of classic sans serif faces (Frutiger and Univers) and the humanistic characteristics of old styles (Garamond and Granjon) were the inspiration for this contemporary design that is equally at home in a headline or a body of text.
The new UC badge itself I’m not particularly fond of. It took me five or ten looks to realize they’re trying to make the background approximate a U through use of negative space. And that C is really, really round. I’ll grant that it looks really modern and catchy — as does the rebrand of the University’s “let there be light” tagline. The problem - and my fear - is that you want to go for a timeless design for properties like this and not capitulate to what’s trendy now. The whole thing looks hip and cool — and could feel dated in six wee little months. We’ll see what happens.
This video is a couple of years old but was recently featured at The Atlantic. For those who don’t know, Rams was the influential product designer at Braun whose simple, minimal designs have widely influenced modern industrial design. In the mid-80s, Rams articulated a set of 10 design principles focusing on utility, aesthetic simplicity, and understandability. In the short video, Rams is quirky, thoughtful, and intriguing. Read more about his ten principles for good design here.
Japanese practice suga atelier has sent images of their recently completed project ‘house of cedar’, a residence in osaka, japan. oriented towards the north to overlook a sloping bank of earth and river, a glass facade secured with a rectilinear pattern of aluminum mullions reveals two interior stories. the squared exterior is interrupted with a fold which creates a reveal between the structure and ground plane. placed along the eastern elevation, the line runs through the main entry portal which continues the crease through metal door.
A different type of treehouse. See more pictures.
From PSFK, a great story about the decision in McAllen, Texas to turn an abandoned Wal-Mart into an award-winning library.
In the Monitor, a local newspaper, Dave Hendricks wrote:
A massive canopy, the kind often found at fancy hotels and Las Vegas casinos, shades the building’s main entrance. Towering above the canopy is a translucent tower of glazed glass, which will glow with color-changing lights at night. Stucco walls now soften the building’s boxy exterior, replacing the retail giant’s signature blue with shades of brown.
“The only comparison to Walmart is the size of the building,” said library Director Jose Gamez, who donned a hard hat and safety vest Wednesday to show off the library-to-be.
Inside, walls have divided the cavernous, 123,000-square-foot space into conference rooms, computer labs and room for more than 300,000 books. Both a coffee shop and copy center will operate inside the new library.
I like the idea of transforming familiar, well-known centers of commerce into vibrant, educational meeting grounds. It helps, I think, that they were extremely forward thinking both in the physical / UX design of the space and the selection of books, technology, and amenities within the building. Seems like a good template for future libraries — a confluence of traditional library services with the amenities of big-box bookstores that draw people in. The McAllen library seems to go one step farther, elevating both the interior and exterior to the level of art - a place that needs to be experienced.
The gamble (of around 25 million USD) seems to have paid off. According to a later story by Hendricks, 2000 people lined up for the grand opening of the 129,000 square feet library, which claims to be the largest single floor library in the US. 48,000 visitors roamed the space in December, with ~1600 new registrants and 8000 account updates.