Even standing up close, Beijing-artist Li Hongbo’s sculpture of Michelangelo’s David looks like it is made out of marble or porcelain, but when it is gently pulled up, the bust stretches out beyond recognition, and when released, springs back to its original shape like a Slinky toy. The raw material that Li Hongbo uses for his sculptures is paper, thousands and thousands of sheets of paper. His average classical busts require gluing more than 5,000 sheets of paper together in a honeycomb pattern, using pressure to hold the sheets together. From there, he saws, cuts and shapes the huge block of glued paper to arrive at a rough sculpted form. Li Hongbo then shaves in the finer details and uses sandpaper to smooth the surface.
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.
Sometimes a literal visualization of a message is the most effective one. These billboards by creative agency Extra Credit Projects in Grand Rapid, Michigan, promote the services of Mary Free Bed Rehabilitation Hospital, an 80-bed rehab center in Grand Rapids. On the all-text billboard ads, the ailment to be treated is clear; nothing more need be said or shown to improve understanding.
As an aside, the name of the hospital itself has a fascinating origin. In 1891, a group of women in Grand Rapids sought to provide medical care for people with limited financial means by asking everyone named Mary, as well as those who knew anyone named Mary, to donate money to secure a free bed in one of the local hospitals. The so-called Mary Free Bed Guild went on to raise funds for convalescent and orthopedic centers for disabled children. In 1966, the program, expanded to care for spinal injury and stroke adult patients, was renamed Mary Free Bed Rehabilitation Hospital.
Two things to learn from this video: 1) No matter how fascinating the subject, nearly all videos benefit from a voiceover narrative and an appropriate soundtrack, both lacking here. 2) Although the term “industrial design” did not emerge until the 20th century, the design and engineering skills to produce incredible objects that utilized the principles of applied science and engineering existed long before then. Centuries before CAD systems and 3-D modeling devices, Abraham Roentgen (1711-1793) and his son, David (1743-1807), made ingeniously engineered and mechanically complex cabinetry that incorporated drawers that opened automatically at the touch of a button, hidden compartments, and drop-down writing surfaces – all behind elegantly decorated panels. This walnut-veneered masterpiece was commissioned by King Frederick William II of Prussia in the late 18th century and is housed today in the Kunstgewerbe museum in Berlin.
Designing a book cover is an exercise in balance. The image or graphic has to distill the story without giving away the plot. It has to create “shelf presence” to entice shoppers to pick up the book for a closer look. It has to avoid false advertising, but can’t be boring, even if the content is. It should give shoppers a sense of the genre – suspense, sci-fi, romance, self-help, current events – but imply that the author has a unique and fascinating take on the subject. While it is true that “You can’t judge a book by its cover,” it is also true that you can design a cover that makes shoppers want to buy the book. This video from Random House features interviews with book designers from its publishing groups (Random House, Knopf Doubleday and Crown) providing insights into the complex process of creating compelling, eye-catching and meaningful book cover jackets.
Authored by Jessica Helfand and Michael Bierut. The Design Observer has hosted conferences, launched a publishing imprint, hosted three podcasts, and attracted more than a million followers on social media. All of these enterprises are rooted in the original mission to engage a broader community by sharing ideas on ways that design shapes―and is shaped by―our lives.
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