Shocase is a new social network site with some of the intentions of LinkedIn, Pinterest and Facebook, but is targeted specifically to the 100+ million marketing professionals worldwide. It acts somewhat like the old Blackbook directories, but in a friendlier, more interactive and constantly updated way.
Shocase CEO Ron Young explains, “Members can present their work, skills and experience in the best light to the audience they value most; brands can find the right marketing professionals to suit their needs in any discipline. The site is designed to help build working relationships, and ultimately help members grow their business.”
Last December, the Smithsonian Institution’s Cooper Hewitt Museum of Design reopened its doors after being shut down for three years for renovation. Located in the old Carnegie Mansion in Manhattan, the new Cooper Hewitt has designed an experience that integrates interactive,immersive technologies into all of its exhibits. Now visitors can view digitized collections on large touch-screen tables, draw their own wallpaper in the Immersion Room, solve real-world design problems in the Process Lab, and use an interactive pen to save objects that they want to view more closely at home. The Cooper Hewitt not only shows how design has evolved over the past century, it is a living example of where it is going.
Digital billboards are making it possible to connect with people in ways we couldn’t imagine a few years ago. To mark International Women’s Day last weekend, UK-based Women’s Aid worked with WCRS London to launch a billboard campaign to raise awareness of domestic violence. The billboard features an obviously battered woman with two black eye, swelling and cuts on her face. From time to time, she blinks sadly.
Using facial recognition technology, the billboard lets passersby heal the woman’s wounds by looking at her. The more people stop and look directly at the image, the faster her face heals and returns to normal. The facial recognition technology can register exactly how many people are looking at the poster and pick out their faces from the crowd and display them through a live-feed of the street.
Years ago the CEO of a company I was working for was hospitalized at the time the board of directors’ group photo had to be taken for the annual shareholders report. Another executive who was roughly the same built as the CEO was recruited to stand in his place. Later a photo of the CEO’s head was pasted and airbrushed onto the stand-in’s torso. It looked okay, but anyone who knew the CEO found something about his pose unsettling.
For another annual report cover, we had a shot of a logging truck traveling on a freeway past a forest of gorgeous fall colors. Due to reasons I’ve forgotten, the photograph had to be flopped, so the freeway sign made it look like the truck was driving on the wrong side of the road. If I remember right, a print had to be made of the photograph so the retoucher could fix it, and then it had to be converted back into a transparency.
That was in the days before Photoshop. Because significant manipulation of a photograph was such a big deal back then, it used to be said that “the camera never lies,” Now designers are often overheard saying, “Don’t worry. We’ll photoshop it in (or out) later.” Photography has become an “impressionistic” art form. Seeing isn’t believing. Changes can be made in an instant on a computer by virtually any designer. The airbrushing and retouching professions have all but disappeared. Through Photoshop, a hybrid art form has emerged that is producing some incredible images. More and more, designers have assumed control of the photograph, and taken it out of the hands of the photographer.
A great book cover should be striking, memorable, profound, and, most of all, eye-catching. It should pull a reader across a bookstore with a flash of color or a slick effect. But today, designers must think beyond the physical bookstore and consider the digital one as well. The parameters of each differ in nearly every respect. So, how have designers adjusted? With the huge growth in online sales, has the digital bookstore begun to drive the design process?
Here are some tips offered by Penguin Random House experts on cover design and selling online.
The Sizing Challenge.
The most noticeable difference between a cover’s presentation online and in person is its size. On the shelf, a cover might be 10″x6″, but online it shrinks to about an inch on a computer screen—and even smaller on a mobile device. Given this discrepancy, you might think that the solution to this conundrum would be creating two different covers—one that works on a larger scale and one that pops at a fraction of that size. But designers warn against this. The cover is the most obvious consumer-facing branding of a book, and designers want to ensure that a reader can recognize that brand across all formats and platforms. Whether a reader sees the cover in a promotional email recommending the book, in the window as she passes her local bookstore, or online when she goes to buy it, she should see the same image every time. The consistency bolsters her relationship with the book and increases the likelihood of purchase.
Apple’s fall rollout of new products isn’t welcome news for some of us still adjusting to the iPhone 5 and getting the feel of the iPad we got last Christmas. Many of us who grew up in the analog age view every electronic upgrade as stressful and disruptive. Innovation for innovation’s sake isn’t always welcome. Just because you could, doesn’t mean you should. Millennials, born thinking of their opposable thumbs as digital operating devices, don’t understand that “intuitive” is a relative and generational term. Which brings me to this classic comedy sketch created for Norwegian TV a few years back.
A team at the Harvard Innovation Lab undertook a project to reveal how desktops have evolved since the first personal computer appeared 35 years ago. Photographed by dougthomsen.tv and engineered by anton georgiev, the video version below shows how office necessities (e.g., Rolodex, reference books, hand-held calculators) have gone from the actual to the virtual, from physical objects to digital apps. The video, as seen on Designboom.com, is a fascinating look at how technology has transformed office tasks. It also suggests that offices of the future should be redesigned accordingly. Corporations once filled vast high rises with thousands of employees, hundreds of file cabinets and office equipment, and rows of clerical help to handle all kinds of paperwork. Today “offices” are essentially portable. Workers don’t have to be tethered to their desks. They can stuff their laptop and mobile phone in their backpacks and set up shop anywhere. So, what is the purpose of gathering employees into a single workspace? What kind of furniture and equipment will make workers more productive and more collaborative? With so many documents stored in the clouds instead of in metal file cabinets, can the physical office layout be sized to take up less square footage? It’s time to occupy no more space than we really need.
This promo could just as easily have been made to promote printing papers, instead of IKEA’s 2015 home furnishings catalog. Created by BBH Asia Pacific, the IKEA marketing video channels the Apple brand persona in style and tone with its uncluttered, plain white background and its wide-eyed, uncynical spokesman explaining the amazing features of IKEA’s bookbook catalog – touch interface, eternal battery life, instant loading with zero lag, fully charged, no cables, expandable interface, preinstalled content, touch browsing, fast scrolling, easy bookmark and sharing capabilities, and voice activated password protection. The bookbook has everything you’ve ever desired in a modern information delivery system. So simple, so portable, so intuitive, it’s a wonder that Apple hadn’t thought of it before. But let’s give credit where it is truly due – to Gutenberg and medieval bookmakers. Steve Jobs didn’t invent the “wheel”; he invented an elegant means to adapt the desirable features of print to a digital platform. The attributes that consumers seek in an information delivery device have been around for at least 600 years, and tech giants have spent the last several decades trying to replicate the kind of ease-of-use offered by paper.
When Adobe Illustrator was being released back in 1987, skeptics abounded and the designers who would most benefit from the vector graphic software were most leery that it would destroy the profession. Adobe co-founder John Warnock remembers, “Everybody said, ‘You’re going to ruin good design because now anybody can do it.’” But Warnock believed differently, “The cream rises to the top. The creativity is in the designer. The creativity is in the person who uses the tools.” This brief documentary by Terry Hemphill and produced and directed by Ami Capen looks at how Adobe Illustrator transformed the world of design, so much so that younger designers today can’t fathom what it was like to work with leaky Rapidograph pens, rubdown text and other labor-intensive tools. That’s history recounted by aging designers who want to describe the hardship they endured and how lucky today’s generation is to live in the age of digital graphics.
How do you make herbs and spices tantalizing on a visual and auditory level? Asked by Schwartz Flavour Shots to create an ad that turned its seasonings into a complete sensory experience, Grey London unleashed Schwartz herbs and spices in an explosion of colors choreographed to a classical arrangement by M.J. Cole of Soho Music. Directed by Partizan’s Chris Cairns, the Schwartz Flavour Shots commercial used pyrotechnic designers to trigger 140 separate explosions of spices. Several sacks of black peppercorn, turmeric, cardamom, paprika, ginger, cumin seeds, chili and coriander were synchronized to blast off on cue to the notes and chords of Cole’s piano score. Filmed at Pinewood Studios in the UK, the commercial had to be shot in one take. The final result was an exciting visual feast.
Until now, 3-D mapping has largely been used to project dazzling special effects onto the facade of buildings at outdoor events. The display of colored lights, towering cascading images and shadows of dancing giants enthralled crowds. But as awesome as these performances were, they felt random and experimental, a new invention that had potential but, as yet, no defined purpose beyond a gee-whiz demonstration of its possibilities. That’s why this 3-D court projection produced by Virginia-based Quince Imaging in partnership with the Cleveland Cavaliers basketball team is so interesting. It uses 3-D mapping to enhance the excitement by integrating it into its regular program. Using a combination of 3-D mapping techniques and video content produced by the Cavaliers’ QTV team and Think Media, Quince transformed the court surface and surrounding screens into an immersive video environment. The system was comprised of 16 HD projectors, creating a pixel space of 3600×1878.
Less than a decade ago, a billboard was essentially a printed image blown up to a gargantuan size. The picture didn’t move, respond to what was happening in the environment around it, nor interact with passersby. How times have changed, and with it, the types of skills designers need to execute their ideas. Even printed pieces are not static anymore, what with the option of Augmented Reality movement and sound.
Stopp of Stockholm produced this subway billboard for a Swedish cosmetic line called Apolosophy by Apotek Hjärtat. Connecting ultra-sonic sensors to the billboard screen, Stopp made what appeared to be a “still photograph” of a young model come alive. Calibrated to react to arriving trains but not to passing passengers, the sensors made it look like the breeze from the passing trains were tousling the model’s hair. After the train went by, the model returned to her “still” repose. What a delightfully simple idea and brilliant use of technology.
Anthimos Xenos in Athens, Greece, produced this animated introduction for the Greek environmental television network, EcoNews. For the 30-second video, Xenos served as art and creative director, motion designer and 3-D animator, and completed the project from start to finish in one month. Music and sound compositing was by Xenakis Lefteris and additional direction by Nikos Tsimouris. In February 2013, Xenos founded his own firm, Darling Creative Motion, in Athens, to focus on TV branding and advertising.
When evaluating the visibility of a logo design, most designers consider how it will look in all kinds of situations — printed on advertisements, cast in metal, embossed on letterhead, foil-stamped on packaging, blown up to a mega-size for environmental signage, etc. Logos for apps, however, are different. The most important test is how the mark will look at less than a quarter-inch high when viewed on a smartphone or laptop screen. Here’s a quiz to see if you can name these app brands, shown here larger than they are normally seen.
How do you grab the attention of jaded creative directors? By arousing their curiosity. In a campaign for Kontor, a dance music label in Germany, Ogilvy Deutschland developed a “Back to Vinyl” direct mail piece that used high-tech gimmickry to promote the new Boris Dlugosch release. Ad agency recipients got a large flat package that contained a vinyl record inside, instead of the usual CD or USB. The vinyl came with instructions to place the record on the printed turntable on the back of the envelope, then activate the QR code with a smart phone. Recipients could listen to the latest Dlugosch track and “move” the needle to play other tracks as well or to contact Kontor via the connect icon. Needless to say, the vinyl promo often became the talk of the office and didn’t get thrown away.