Thanks for subscribing.

Thanks for asking -- we escaped the brunt of tropical storm Sandy here in Central Virginia but we continue to send good thoughts to those north and east of us who have begun to recover and rebuild.

I want to show you an excellent example of how information design can be used to help real people in real crisis -- a Google "Crisis Map." (Thanks to Karla Humphrey for pointing us to it.) Here

Be well, Chuck

Have you seen my InDesign Ideabook?

315 template files in 19 different categories -- Everything from brochures, newsletters, and direct mail to packaging, calendars, and books (one CD works with both Mac and PC). Use two or three files and you'll pay for the entire book and disc...

For Adobe InDesign  Here 

For QuarkXPress  Here 

Behind the scenes of some high-powered design projects

A few posts back I pointed you to a new forum for learning about integrated branding - here's another. This one, Google's Creative Sandbox, provides the names of people, the companies they work for, and the tools they used to create some impressive projects and campaigns. In this case you'll even find details such as the number of lines of code written, the number of photographs taken, and so on.

For example: A project for Herman Miller...  Here

The Creative Sandbox website...  Here

Creative Sandbox Submitter's Guide (291KB PDF)...  Here

Some amazing vector illustrations from the London Olympics

These information pieces that illustrator Hugo A. Sanchez created for the London Olympics are simply stunning.

Part 1: The Olympic Park...  Here
Part 2: The Aquatics Centre...  Here 

Part 3: The Basketball Arena...  Here

Part 4: The Velodrome...  Here 

Part 5: The Copper Box...  Here
Part 6: The Olympic Stadium...  Here

Sanchez's portfolio...  Here

From the Design Store

Tintbook CMYK Process Color Selector: A palette of 25,000 CMYK process colors in print...  Here

Color Harmony Guide: From French designer Dominique Trapp...  Here

Graphic Design, Referenced: A Visual Guide to Graphic Design: One of my favorite design books...  Here

Brief looks...

Linotype: The Film is being released today. Just got my copy via the producer's Kickstarter campaign. You can buy a copy here...  Here

My niece Summer Ventis is a gifted printmaker. Here is her new website (tell her I sent you!)...  Here

DO NOT MISS this surreal time-lapse video of the Space Shuttle moving through the streets of Los Angeles. It has a real theatrical bent to it. (Thanks to Matt Hanna for pointing us to it.)  Here

Another interesting variable identity design

I like these amorphous identity pieces and parts created by Michael Dyer of Remake Design. They remind me of the variable identities created for organizations such as Tate and the MIT Media Lab in recent years.

In an all-things-digital age, I think this may ultimately be a very normal path for building a brand.

Example 1...  Here

Example 2...  Here

Example 3...  Here

A letterhead...  Here

An earlier post about MIT's Media Lab identity...  Here

And the Tate brand...  Here

This is the Remake Design website...  Here

While we're looking at Dyer's work, here's a collection of stamps design by Dyer and art directed by Antonio Alcalá of Studio A...  Here

Meet illustrator Seymour Chwast

Horror of horrors. I realized that I have not done a post about Seymour Chwast! Not that you don't already know him - he's (by all measures) one of the most influential designers and illustrators of the last one-hundred years.

I realized the omission as I was about to point out how another illustrator's work conjured up Seymour Chwast and, when I went to find the earlier post I did about Chwast, I realized there was none.

In any case, you'll see his influence on design in 2012 when you look at his work. I became a fan way back when I was a kid. In its heyday, the 1960's and beyond, Pushpin was the quintessential design studio.

From the AIGA Design Archives, a compilation of Chwast's work...  Here

Push Pin Studios...  Here

A book of illustrations: Seymour: The Obsessive Images of Seymour Chwast...  Here

A biography of Chwast by Steven Heller from the AIGA website...  Here

Meet illustrator Craig Frazier

I really like lyrical, narrative illustrations by Craig Frazier. His work reminds me a bit of Seymour Chwast (the post above).

Example 1...  Here

Example 2...  Here

Example 3...  Here

Craig Frazier's website...  Here

Preliminary finding: Humanist genre typefaces are more legible

If you can get excited about proof that "highly assimilated letterforms increase ambiguity," hold on to your hat. Bryan Reimer, Bruce Mehler, Joseph F. Coughlin, researchers with MIT's AgeLab, "...have found that dashboard displays using the more open and differentiated lettering found in the 'humanist' family of typefaces are easier for people to read quickly than displays using the more uniform and tightly spaced letters of the 'square grotesque' style. Male drivers, in particular, can process messages in humanist lettering about 10 percent faster, on average."

Seriously, this is pretty interesting stuff. As we travel the amazing path new technologies afford us, it is this type of discovery that (ultimately) will improve communication on a visceral level. It will also, I think, create new classes of utilitarian versus aesthetic approaches to design.

Thanks to my friend Jessica Jones for pointing us to it.

An overview of the research...  Here

The new release...  Here

The white paper: An Evaluation of Typeface Design in a Text-Rich Automotive User Interface (4.3MB PDF).  Here
I assume the term "humanist" refers to a classification of typefaces (devised by Maximilien Vox in the 1950s) that imitate early humanistic manuscripts)...  Here

Frutiger is the humanist typeface tested...  Here

Eurostile was chosen as the standard because it is often used in automotive applications...  Here

Monotype Imaging sponsored the study. It owns Linotype which, in turn, owns the trademarks to typefaces such as Eurostile, Frutiger, Univers, and Helvetica...  Here

Will you join me on Facebook?  Here

Seeking out, re-casting, and embellishing work you did not create

We've been treated to many feats of visual dreamwork in recent decades but none more compelling than those curated, edited, and created by Michael Benson.

Since the early 2000s, he has researched, stitched together, and rendered an awe-inspiring collection of images cobbled together from the vast database of photographs taken by spacecraft in the last 50 years.

Today we celebrate the publication of his latest book Planetfall: New Solar System Visions published this month by Abrams, which features imagery from the new, more powerful cameras of more recent probes.

I point you to it because it strikes me as an excellent example of the astounding results creatives can achieve by seeking out, re-casting, and embellishing works they did no invent. In other words, I don't always need to be the inventor to make a valuable contribution.

Example 1...  Here

Example 2...  Here

Example 3...  Here

A gallery of images featured by The New York Times...  Here

Dr. Jim Zimbleman, from National Air and Space Museum discusses what it took to create the final images...  Here

Benson's new book: Planetfall: New Solar System Visions...  Here

Michael Benson's website...  Here
About this newsletter

I try to remain as objective as possible about the information I share here. Unless I tell you otherwise, I receive no compensation from the organizations and people mentioned except for occasional product samples. I am an affiliate of and -- that means, if you purchase something from them, I get a small commission. Comments? Suggestions? Write me at [email protected] -- Chuck Green