Designers, in my humble opinion, are a self-congratulatory lot. They constantly hold juried competitions and give themselves awards, produce publications to pat each other on the back, and freely call elder designers “icons” and “legends.” Copywriters, on the other hand, (of whom I count myself among them) never refer to anyone in the profession as a “copywriting legend” or “copywriting icon”. We don’t put out magazines reprinting the best corporate brochure text, direct marketing paragraph, or pithy headline. As a group, copywriters are usually unsung and ignored. That said, there is one designer who genuinely deserves to be called a “legend”: Milton Glaser. He is to be admired for his originality, talent, contributions to art and design, and because he comes across as a sweetie. That makes us happy to present this short video interview of Milton Glaser, put together by the New York Times.
As we celebrate Independence Day in the U.S., it seems fitting to give credit where credit is due to Francis Hopkinson, who substantial evidence shows designed the first American flag in 1777. Hopkinson, a New Jersey lawyer and signer of the Declaration of Independence, had a natural love of heraldry and art, and dabbled at graphic design (a profession that didn’t exist back then). During the American Revolution, Hopkinson was serving as chairman of the Navy Board’s Middle Department, when it got an urgent request to come up with an official banner of some sort that soldiers could carry into battle. At the time, the rebelling colonies were flying a flag that featured a variation of the British Union Jack in the canton surrounded on three sides with horizontal red and white stripes. (It looked like a knock-off of the British East India Company flag.)
Of all the sections in a supermarket that have design display potential, the produce section is number one. Unlike branded packaged products such as cereal, ice cream and canned goods, fresh fruits and vegetables are set out loose without wrappers. They come in bright colors, different shapes, textures and sizes, and change frequently with the season. Speaking personally, I tend to judge the quality of a supermarket by the freshness and diversity of its produce. Nothing is a greater turnoff than limp leafy greens and overripe brown bananas. Artfully arranged displays emphasize the natural beauty of the fruits and vegetables, help shoppers instantly see the difference between each item to quickly pick out the red leaf lettuce from the Bibb, the onions from the radish, the bitter melon from the cucumber, etc. The marvels of nature’s bounty are a joy to explore. With a little effort at design, the produce section can become the star attraction of any food market. Shown here are a display of chard and bell peppers (photo by tretorn) from ICA in Tyresö, Sweden, and a display (photo by cool hand lucas) from Zupan’s in Portland, Oregon.
The exhibition poster features the ancient Chinese character for kome.
A fascinating exhibit is currently on display at 21_21 Design Sight in Midtown Tokyo. Created by renowned Japanese designer Taku Satoh and anthropologist Shinichi Takemura, “Kome: The Art of Rice” presents 35 design pieces by leading Japanese artists and experts in rice cultivation. What makes this show so intriguing is that a food staple as humble as a grain of rice (or “kome” as the Japanese call it) could be shown with such aesthetic sensitivity and with such a thoughtful exploration of the role that rice played in the historical, cultural and spiritual traditions of Japan.
The symmetrical patterns and multiple reflections created by a kaleidoscope served as the perfect metaphor for the art of dance and gymnastics – and a means to demonstrate the ease of movement offered by the dance and fitness apparel manufactured by Freddy Wr.UP of Italy. For the making of the video, DLV BBDO Milan collaborated with Abstr^ct:groove production company to build a simulated kaleidoscopic view of performers in motion. Considerable storyboarding preceded actual production. Abstr^ct:groove producer Mauro Mastronicola says, “To understand how to achieve the graphic patterns we wanted, we started by studying small scale models and then we went into CGI simulations. All the effects were obtained in camera without the use of added post-production.”
Not everything happened in camera, however. Abstr^ct:groove designed and built four thaumascopes of different sizes and shapes, the biggest being about 30 feet long with an triangular opening of about 8 feet and the smallest being about 5 feet in length with a square opening of about 2 feet. The Italian National Team of Rhythmic Gymnastic ‘le Farfalle’ was asked to perform the gymnastic movements which were choreographed by their trainer Emanuela Maccarani. Luigi Pane directed the film and Franky B (aka Cryptic Monkey) produced the music.