Jpsousapaula@squeet.me
Jpsousapaula@squeet.me
jpsousapaula@squeet.me
Currently in Hubzilla but this looks nice.
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Currently in Hubzilla but this looks nice.
👤 Visit Jpsousapaulas profile 👤 Jpsousapaulas Profil besuchen
New Year's Eve Around the World
Esri UK has released a 'fun' interactive map which shows New Year's Eve celebrations taking place around the world. Press play on this animated map and you can watch fireworks gradually exploding across the globe as the new year spreads its way east across the world. In truth there isn't much point to Esri's New Year's Eve Around the World. The map uses GMT. So, if you are British, you could
Issho translates as “together” in Japanese, so the idea of “togetherness” was a theme throughout the restaurant branding, with kintsugi being at the very core. Kintsugi is an ancient Japanese art form where repairing an item with gold joins makes the object more desirable than before. Often different pieces of pottery are used like “patches” with varying patterns, colours and textures.
Issho logo explorationTo quietly echo this theme, the logo uses a “double s” glyph within a hanko seal.
The copper join is used in a singleminded way across all menus and printed items. The join is sometimes on its own in a way that disrupts the copy — like on the food menu — and at other times the join is shown with different finishes and patterns. The drinks menu, for example, has a pattern in one section, a UV varnish in another, and a colour in the third.
We tried many different techniques to get the kintsugi join working in a controllable way so we could combine the elements and menus together with one continuous crack. We went from drawing in different mediums to smashing porcelain.
In the end what worked best was to simply tear paper and then reattach with a gap and scan. The cracks were then isolated and retouched to get the correct feel. That process was discovered in the concept stage, and worked so well it was carried through to artwork. It was time consuming, especially making all of the printed items connect, but in the end it added an extra level of detail that was really worth it.
We created three modern patterns with the Japanese/British London-based pattern house, Eley Kishimoto.
Pattern research
As the restaurant is based in Leeds, The British pattern features the white rose of Yorkshire, and to complement some of the water details in the interior (including fish scale screens) the Japanese pattern was created with an ichimatsu stream reference.
A third pattern brings both of these elements together. The black and white version of the third “together” pattern was also used in the ceiling of the interior.
Working with Eley Kishimoto was a real pleasure, particularly seeing how they create modern patterns from traditional sources. They have a very single-minded and concept-driven approach, and were able to apply contrast between the British patterns (embellished, romantic, tight, and filled) and the Japanese patterns (spaced, simple, graphic, and loose).
We created six large posters showing Japanese/British people, shot by Laura Lewis and Benjamin Bentley, and joined with copper foil. British and Asian models were sourced and shot in a simple portraiture style.
The crack was created using the same technique as with the menus, before an incredibly large rub down was made and applied (this needed very calm hands). The artwork was then framed and hung in various locations within the restaurant space.
A distressed metal plate with a copper kintsugi join was used for the restaurant signage, with warm light boxes used for directional signage in reference to a traditional Japanese paper lamp-stand.
Finally, we had more than 50 small kintsugi plates made to act as the bill holders for the end of the meal.
Kintsugi plates in the kiln
Movie posters of the year 2018
So that was film 2018. As we tumble into awards season, it’s a good time to look back on the year’s posters before they get reworked “for your consideration”, cluttered with quotes and stars and laurel wreaths.Below is my list of the top ten movie posters of the year:
Isle of Dogs (BLT)
The nature and purpose of the poster has continued to adjust to meet the attention span of the internet. With the bigger releases, we’re seeing more of a diverse approach – multiple creative treatments drip fed into social media, each one another minor talking/sharing point to perpetuate the pre- and post-release marketing of a film. With some campaigns, it can seem like not a single idea was rejected; the consistent identity of a film diluted by a bombardment of jpgs. But when it works, it really works. Isle of Dogs successfully captured the visual language of Wes Anderson, particularly with a series of deadpan character posters.
Suspiria (LA)
The gradual reveal of characters (and, more eerily, innocuous locations) also worked well for Suspiria, a campaign that echoed the film’s sense of encroaching dread. The only suggestion of horror was saved for the main poster, blood and eyes spattered over cinematic type veteran Dan Perri’s distinctive lettering.
The Favourite (Vasilis Marmatakis)
Following striking campaigns for The Lobster and The Killing of a Sacred Deer, Yorgos Lanthimos continued his collaboration with designer Vasilis Marmatakis for our favourite Oscar favourite, The Favourite.
Spider-Man: Into the Spider-Verse (BLT)
It was of course yet another big year for superheroes, the genre finally seeing some meaningful diversity of race, gender and style. Marvel just about managed to stave off homogeneity with strong campaigns for multiple films, and one suspects a documentary about the playful marketing of Deadpool would be just as enjoyable as the films themselves. Avengers: Infinity War is notable for squeezing ten years worth of characters into a rainbow-hued ensemble, like some kind of Cyberdog Sgt Pepper’s. But perhaps the most striking comic book poster of the year goes to Spider-Man: Into the Spider-Verse. Rather than throwing the film’s frenetic style and multiple personalities at the page, we see the new Spidey in a simple, seemingly archetypal heroic pose (also the money shot from the trailer). But is he jumping or falling?
They Remain (Jeanne D’Angelo)
Smaller films relied on fewer, more striking images. The poster for Philip Gelatt’s They Remain is all about Jeanne D’Angelo’s cryptic, arboreal artwork. Beautiful yet terrifying … it’s looking at you.
Sorry to Bother You (Gravillis Inc)
Sorry to Bother You harnessed illustrator J. Otto Seibold’s lettering (also peppered throughout the film and its wonderful array of earrings) to fantastic effect, just about managing to sidestep garishness. Despite the reticence of the title, this film successfully screamed for attention.
Angels of Our Past (Midnight Marauder)
Great design isn’t just for feature-length films – Max Law’s short Angels of Our Past was blessed with this poster by Midnight Marauder, who has also been producing some fantastic work with illustrator Tony Stella as Alphaville.
We The Animals (The Boland Design Co.)
No longer required to work at any particular fixed scale, posters are taking more design cues from other forms. Eschewing the once-standard credit-block and tagline, The Boland Design Co.’s poster for Jeremiah Zagler’s childhood drama We Are Animals could/should be a book jacket.
Mary Queen of Scots (Bond)
The bold-colour-plus-headshot direct approach (here’s the star, here’s their role, here’s the Pantone swatch) is ideal for a medium that is now as much about the thumbnail as the billboard. Mary Queen of Scots deserves special mention simply for that vibrant blue, the image of Saoirse Ronan falling ambiguously between photograph and painting.
L’Empereur de Paris (Silenzio Communication)
A particular treat for cartophiles, the poster for François Vidocq biopic L’Empereur de Paris made great use of Charles Picquet’s 1804 Plan routier de la ville de Paris et de ses faubourgs. Who knows, maybe antique maps will be the big trend of 2019?
Daniel Benneworth-Gray is a freelance designer based in York, @gray
The post Movie posters of the year 2018 appeared first on Creative Review.
Top 2000
Op het mediapark in Hilversum is de Eerste Kerstdag de Top 2000 begonnen. De radio uitzending van NPO 2 gaat Non-stop door tot middernacht oudejaarsavond.
Meer foto`s h
The Global Prosperity Index 2018
Norway has been ranked the most prosperous country of 2018. Norway outperformed all the other 148 countries around the world based on the Legatum Institute's prosperity metrics. Afghanistan was ranked last of the 149 countries. The United States was ranked 17th for the ninth successive year. Every year the Legatum Institute ranks the prosperity of countries around the world. The Legatum
D. Aves 1 SL Benfica 1 (TdL FG)
O objectivo está conseguido: Ir à fase final da Taça da Liga!Mas... Dá-me a sensação que qualquer coisa não está bem!
A vermelho: Há muito assunto em que podemos vir com rodriguinhos e que toda a gente sabe que são rodriguinhos...A azul: Os jogadores? Mas são os jogadores que decidem? Tipo a Pal Csernai?
Uma coisa é verdade: Na partida de ontem, o Benfica esteve mais próximo daquilo que é suposto ser quando - por causa de ter sofrido um golo - jogou com dois avançados. Infelizmente, voltou ao que tem sido após ter marcado o golo do empate: Pontapé para a frente que pode ser que ela entre ou fique longe da nossa baliza.
Por respeito ao emblema que os jogadores ostentam no equipamento, não faço as avaliações individuais. Jogadores houve que se exibiram a um nível execrável.
Esta frase, com o antónimo do adjectivo, faz mais sentido hoje em dia... Ou nos últimos anos!
Aproveito para desejar a todos uma passagem de ano segura, cheia de emoção e divertimento. Também um ano de 2019 mais límpido e feliz.Acorda Benfica!
E Pluribus UNUM!
University of Waterloo has created a CO2 powder which could help fight climate change
Scientists at the University of Waterloo in Ontario, Canada, have created a new powder that can capture carbon dioxide, and it could be a new tool in the fight against climate change. The powder can filter and remove CO2 at power plants and factories powered by fossil fuels before it is released into the atmosphere, and it is more efficient than conventional methods. Chemical engineering professor Zhongwei Chen created the powder in his lab as a new way to manipulate the size and concentration...
Kid Noize – L’homme à la tête de singe (Dupuis)
« Ne perdez pas vos rêves de vue ! » Tel est le credo du DJ Kid Noize, à la fois auteur et protagoniste de cette histoire fantastique entre deux dimensions. Son univers singulier envahit la bande dessinée avec ce premier album déjanté, coscénarisé avec Kid Toussaint et dessiné par Otocto.
LogoArchive #1“The difference between digital space and material artefact manifests itself in a number of ways. With the digital landscape being infinite, curation is open to anything with a compelling use of form language between 1950 and 1980. With the finite space of print it takes a more personal approach, so anything that really speaks to me on a personal level, something that has a joy in its metaphor or a sophistication in its abstraction. This first edition draws together some of my favourite animal logos.
“A critical relationship between LogoArchive online and LogoArchive in print is formed by maintaining a white on black distinction, where logo books are typically black on white. This also provided the potential to acknowledge LogoArchive’s new physical context through the uncoated and dyed qualities of Colorplan Ebony, the physical layering of white ink, and binding with black staples.
“It was a challenge to print white on black while avoiding the expense of foil and screen printing. WithPrint did a fantastic digital print job, maintaining sharp edges and making the white on black as white as possible.
“As it’s a small booklet (10pp plus cover), details such as consistent layering of ink through eight passes, carefully trimming the dyed, uncoated paper, and the use of black staples were essential. They help to justify its price point, which, at five pounds, aims to be just a little more than an expensive birthday card, and hopefully sets LogoArchive up for a second edition. I ran 400 and have 100 left. There may be another run later but I want to get on with the next edition.
“Getting the ISBN number was a first for me. I’ve generated barcodes for clients in the past, but never registered as a publisher and requested a number. It’s a fairly straightforward process through Nielsen BookServices, costing £89 for one, or £149 for 10. A barcode was generated using a few online tools and knocked out of a block of white. There is a requirement to submit any publication with an ISBN number to five institutions, one of which is the British library.
“A critical part of LogoArchive in print is its story — its capacity to take something pragmatic, like research and documentation, and give it a personal component. There are a lot of logo books out there, so this mix of story, new mode of delivery, and distinct materiality intends to separate LogoArchive and lay the foundation for an ongoing relationship with readers.”
LogoArchive (featured previously) is a recovery, research, and restoration project by designer Rich Baird. LogoArchive #1 is distributed by Counter-Print, and stocked by Magma Books, magCulture, and Standards Manual.
Update: LogoArchive #2 is now available.
