august 29th, 2010: 5 typeface specimens and 20 new typography posters posted here. phew.
wednesday, june 16th, 2010
After what feels like centuries of hyping my mysterious "time travel project", I finally bit down on the cyanide capsule and threw it all up: ALT/1977: WE ARE NOT TIME TRAVELERS is here.
This project is undoubtedly my most conceptually ambitious work to date. It comprises 14 full-sized, 18x24" prints that explore the awesomely absurd idea of time travelers who return to the late 1970's to release the technology of 2010 and dominate the world of consumer electronics. I re-imagined four modern products as if they existed over 30 years ago and tried to bring them to life through fake print ads, abstract glamour shots, and even a characteristically pretentious type treatment or two.
It's worth noting that I'm posting this after letting it sit in its current state for months due to my original desire to complete an equally ambitious companion motion piece and launch both at the same time. Unfortunately, everything on this site is done in my spare time—an increasingly rare commodity these days—and that's just not a conducive situation when you're trying to churn out an immaculately-detailed HD visual effects extravaganza. So rather than let the print side of the project collect dust for god-knows-how-much-longer, I'll be releasing them as two separate installments.
The retro thing has been a popular trend among my ilk for a while now, and as someone who's benefited greatly from riding that wave myself, I figured it was time to contribute something that ups the ante a little. I guess what I'm trying to say is, there's retro, and then there's time travel.
Psdtuts recently conducted a group interview with a number of artists about their methods for creating visuals through photo manipulation. My response was a little unorthodox as photos don't really enter into my process, but it was fun nonetheless. Check it out!
After a week of [sorta] hard work, I've finally completed MY DESK IS 8-BIT, the first piece of animation I've actually put online that wasn't for a client.
As the description on the project page says, the idea for the piece came to me when I tried envisioning a full-fledged video game in the form of stop motion animation, perhaps made with colored blocks like Legos or something. In the process of answering that question, I created a video game from scratch, wrote a good minute or two worth of retro-style chiptune music, designed a handful of sufficiently bleepy-bloopy sound effects and then dumped it all into a blender.
Whether the results are of any worth isn't for me to say, but it's pretty much exactly what I envisioned when the idea first hit me. I'm toying with some plans to continue exploring this technique on a larger scale, but we'll see how that pans out. I have plenty of print work to keep me occupied for a while.
monday, may 17th, 2010
The formula is finally complete. The right paper, the right toner, the right this, the right that, whatever. I've got the first batch of AMV prints in my hands and I couldn't be happier with the results. I still have to get the store itself off the ground, and there are some extras I plan on including that will take a little longer to produce as well, but the biggest hurdle—the product itself—is behind me.
This particular batch was made for a very specific customer, so it doesn't reflect the selection that will be available in the store, but it certainly shows off the insane quality of these prints. The colors are vivid without being oversaturated, the details are as crisp as you can imagine and the paper is fantastic: uncoated stock with a special matte UV coating that results in the slightest hint of weight and sheen without being glossy or reflective.
I plan on having selections from Circuit Bent Type, Urban Cartography, Pavement Loop, The Imprint and perhaps a few others at launch. If you're interested in anything I don't carry, drop me a line and I'll decide if it's worth adding. The prints are purchased in bulk, of course, so I can't simply offer everything on demand, but I'll try to accommodate what I can.
sunday, april 11th, 2010 As I mentioned in my last post on the topic, TED 2010 was my second year of involvement in the event. Here's the story behind my first.
In January of 2009 I was given the privilege of contributing to the TED conference by art directing, designing and co-writing a presentation with Jill Tarter, one of the year's three TED prize recipients. If you've seen the movie Contact, you've seen Jodie Foster portray Carl Sagan's loosely-fictionalized version of her. But in both the film and reality, Jill Tarter is an alien hunter.
Like Sigourney Weaver, you ask? Exactly. Exactly like that.
In a nutshell, Tarter is the driving force behind the SETI Institute. SETI stands for the Search for Extra-Terrestrial Intelligence, which means her day-to-day job is literally about searching for evidence of intelligent life elsewhere in the cosmos. So while you're trying to fix that paper jam in the copier or falling asleep during the staff meeting in the stockroom, she's looking for signals from alien civilizations, dude. It doesn't get much more surreal than that, does it?
In all seriousness, that's what I wanted the audience to think; I wanted the gravity of the subject matter and its ramifications to be inescapable . After immersing myself as much as I could in the source material—which didn't take long since I'm already a huge geek for this kind of thing—I decided that "awe" and "scale" should be the emotional tone of both the visuals and the writing. I wanted this to feel less like a slide show and more like an "experience", as corny as that may sound.
The budget was modest, to put it kindly, but this was such an incredible opportunity that I gladly put in as much off-the-books time as necessary to ensure a worthwhile outcome. For instance, I relied heavily on simple but effective 3D illustration to compensate for the lack of licensed photography.
In addition to being cheaper, the custom approach did justice to the inherently speculative, theoretical nature of SETI's work. Rather than try to shoehorn layers of philosophical nuance into existing visuals, I was able to start from the ground up with purpose-built imagery that fit the intended story exactly.
Of course, as is the case with any live event, things got a little chaotic as the deadline approached. Most notably, it became clear during rehearsals that our content was pushing way beyond the 18 minutes TED strictly allots its speakers—prize winners or not—and numerous last-minute cuts were made. They were all necessary sacrifices to be sure, but I must say I was pretty disappointed to see this particular image go:
I'm still pretty proud of the "A-Ab" joke. Oh well.
Overall, the goal was taking just enough poetic license to make sure the message would strike a memorable chord with the audience without compromising the science. Tarter's a great speaker with plenty of experience, but she's very much a scientist as well. Countering that with a little artistry was the secret to unlocking the inherent excitement of the story.
Working with one of the world's best-known astronomers was awesome enough, but there were a lot of fascinating details along the way as well. For instance, I got to visit SETI's headquarters on numerous occasions, and even stood in Frank Drake'soffice for Christ's sake. He wasn't actually there at the time, but whatever. On a related note, I definitely didn't steal his paperweight.
Everything went great once the show started. The visuals generated a respectable level of buzz among attendees and Jill herself was very well received by the audience. From start to finish, the entire project was like an out-of-body experience.
As designers, we tend to cynically expect that clients will test our patience, compromise our vision and stand in the way of creativity. And nine times out of 10, that's pretty much true. Luckily for me and the TED audience, however, Jill Tarter is one of the exceptions to that rule. She kept an extremely open mind during the entire project and really seemed to enjoy the process of expanding her presentation into something bigger than a "talk".
Then it was right back to the can-you-make-the-logo-bigger? crowd. Sigh.
friday, april 9th, 2010 The title of this post is a really lame attempt at referencing Bill & Ted. Sorry for being so hamfisted about it.
My day job affords me a lot of interesting opportunities, especially since we're involved in the production of the TED conference each year. You'll notice that apart from linking to their site, I'm not even going to bother explaining what TED actually is. If you haven't heard of it, just follow the link and let the FIFTY MEGATON BRAIN BOMB detonate.
I work as both a writer and an artist and have spent most of my last two Januaries (a word that looks extremely odd to me in its plural form) handling not only the art direction and design of a couple TED speakers' visuals, but also the content of the talks themselves. In a future post I'll talk about my experience in 2009 with Jill Tarter and the SETI Institute, but for now I'm going to focus on Elizabeth Pisani:
Pisani is an epidemiologist who discards the traditional, quantitative approach taken by health officials in favor of a qualitative, street-level study of HIV. Simply put, her thesis is that people contract the virus by doing stupid things—drugs and sex basically being the long and the short of it—but the motivations behind these things are shockingly rational from their point of view.
I was dealing with a pretty seasoned presenter, so there wasn't as much for me to do on the writing front as there usually is. We collaborated a little on coming up with a tangible "call to action" that would leave the audience with a goal and a sense of motivation, but that was about it. Unlike most of my clients, she had a very clear message and voice.
Most of her presentation was based around photos or charts, so there's not a lot of eye candy to show off, but I really liked the way this early graph treatment looked:
You'll notice that she axed the overlapping colors (which was a disappointment) as well as the angled edges on the bars (which was a smart move). We were pretty much eye-to-eye on everything else, though, and in general she was a model client. Fun to work with, extremely intelligent and very receptive to ideas. She has a great sense of humor too, which is evident in the video.
And yes, I do use colors other than red outside of my personal work.
TED 2010 BONUS ROUND: I also got to design the interstitial title graphics displayed between sessions and speakers. This was a quick-turn project with almost no budget, but it ended up working out since simplicity is a virtue when it comes to something like this. I presented three options and was blown away when they actually went with the "risky" one I just threw in for funsies; it was by far my favorite, though, and ended up being used without any changes:
Here's a photo of it in action:
The concept of the 2010 conference was "What the World Needs Now", and I was given a huge set of icons to work with. Other than that, it was a blank slate, so it was very cool of them to let me put my blindingly red stamp on the proceedings this year.
thursday, april 8th, 2010
My first test print for the AMV store arrived yesterday. Check out this entry from my Imprint series in all its 18x24" glory:
I'm not happy with the paper yet, but the print itself is fantastic. The colors and details match exactly what I've been looking at onscreen for months, and seeing these images at full size is just a completely different experience. I'm really excited about making these available.
I'm striving to squeeze as much quality as I can out of the current price point, however, so it'll probably be a few more iterations before the print shop and I get the right paper stock nailed down. It'll be worth the wait if all goes well. I also plan on throwing in as many extras as I can think of with each order, so all in all I think the AMV store is going to be officially badass.
