Posts Tagged ‘Graphic Design’

Nostalgic Design Decisions, by Chance

Wednesday, July 14th, 2010

Renewing New York State license plates online gives drivers a clear visual of their options for the appearance of the new plates. Keep the old number and blue and white plate ($130), opt for the new gold plates with a new number (add $25) or go for the gold but keep your old alpha-numeric string (add $45). I like the gold plates; the stark simplicity is more appealing than the fussy landscape trying to add some interest at the top of the former design. The “new” look is a throwback to NYS tags from the 1970’s, when I learned to drive, though the first license plate with a gold background debuted in 1962. My dad always held on to one plate for his collection hanging on the garage wall, and told the DMV he lost the other when it was time to exchange old plates for new.

I was surprised that I was willing to pay a little more for nostalgia, because mostly I agree with Diana Vreeland: I loathe nostalgia. In that case, why not keep the old plate number while I’m at it? Hardly a momentous decision but it was past midnight and I was already tired of thinking about the whole thing so I flipped a coin and allowed random chance to make the decision. It came down heavily on the side of nostalgia: gold plate, old number.

I finalized the transaction, then savored the Dept. of Motor Vehicle’s automatically-generated email response, below. Why should email be any different than actually going to the DMV, where you also will not receive a response? Some experiences generate no nostalgia at all.


Seeds, Part 2

Sunday, May 30th, 2010

I really don’t have a good reason for posting this except that it popped up on Google image search (I was researching the previous entry about seed package art) and I found it pretty great, in that 60’s moptop kind of way.

How many bands and album covers from this era relied on art direction along the lines of: take confused/stoned band to location, shoot, done? Concept pretty spare. “OK lads. This time, in a greenhouse. Things are growing. Look meaningful.”

Or: “OK lads, by the water. Look meaningful.”

Or: “OK lads, just look meaningful. Don’t worry about the dead leaves…”

Seed Package Art: Nice Tomatoes, Sweet Pea

Saturday, May 15th, 2010

Image via http://www.thelabelman.com/

It’s been a long time since my last post and I hope I still have some readers left…maybe three or four? Excuses, excuses: I finished my thesis and graduated from the Design Criticism master’s degree program at the School of Visual Arts on May 14, and now that I’ve caught up on sleep and regenerated some brain cells (maybe three or four) I plan to post on a more regular basis in the weeks to come. You’ve been warned.

Anyway, I did manage to write this last week for the excellent idsgn.org. It was an idea proposed for an assignment given by Michael Bierut at DCrit, but somehow I ended up writing about album art instead for his class. The notion to write about seed package art stayed with me, though, and here it is just in time for spring.

Tickets Please

Sunday, January 17th, 2010


Photo via L. Eckstein, All My Eyes

When I stumbled across this great blog All My Eyes today and spotted a post about gorgeous Argentinean bus tickets, naturally I had to keep reading. I wasn’t disappointed.

I have a personal interest in tickets; my great-grandfather Ruben Harry Helsel invented more than 45 different ticket dispensing machines between 1917 and 1958.


Photo by Angela Riechers

His Takacheck (above) is still a familiar sight anywhere people need a civilized way to take a number and wait their turn. (I wrote about my great-grandfather for a design research class taught by Steve Heller as part of SVA’s DCrit MFA program; you can see the finished book here.)

There’s a Hole in my Typeface

Tuesday, July 21st, 2009

ecofont

Ecofont, from Dutch firm Spranq, takes a novel design approach to save ink and by extension, the planet. Each letterform is perforated like the edge of a wingtip shoe. The holes are meant to be invisible to a reader, allowing Ecofont to use approximately 20% less ink than a standard typeface at the same size. Based on Bitstream’s Vera, Ecofont is recommended at a 10-point size; at smaller sizes the ink savings are negligible, any larger and the holes become obviously visible. Their effect is noticeable even at 10 points, however, because the letters appear gray instead of sharp black. Typographically, it’s kind of a disaster: impossible to imagine this design working as a serif version, and printed text reads best in crisp, contrast-y pure black anyway. Ecofont might be useful for those interim printouts where appearance is not a consideration, though you’d have to switch to another font for your final version of the document. At least I would. But the concept is commendable and perhaps in time there will be a way to have our ink and save it too. If you want to check out the font, there’s a free download. —Angela Riechers