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Daily Inspiration #61

In dozens of years of watching the Oscars I had never cared about the outcome of the Best Animated Short Film, but this year it was different as in the running was a 16-minute film done almost entirely out of, literally, thousands of logos. Created by the French collective H5, and winner of the 2009 Academy Award for Best Animated Short Film, Logorama is not only a clever idea that brings to life some of the most ubiquitous marks of our time, but one that manages to exploit the meaning and conceptions we have of those marks and the brands behind them — whether it’s the villain of the movie, Ronald McDonald, spouting “Loser” after the Enron logo drops from the sky, or “White Trash” when the Kmart logo follows it. Logorama is relentless in its inclusion of corporate, consumer and cultural icons and they become ever so vivid through a crude animation style that complements rather well the prickly language and chaotic plot, which is “Spectacular car chases, an intense hostage crisis, wild animals rampaging through the city and even more…”. Images and a trailer for the short film have been floating around the web for the last few months and the full video has been spotted on and off. The official, legal video can be seen in some countries through iTunes for $1.99, and until further announcement it’s also available at Vimeo (embedded below). Boy, I haven’t even posted this and the video is already gone; below are some screen captures and instead of buying a cup of coffee today, spend it on this movie, it’s worth it. There are plenty of memorable moments, so don’t even dare to blink.

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Oscarama for Logorama

Fifty percent of traffic accidents happen at intersections. Gary Lauder shares his idea for helping drivers move along smoothly: a new traffic sign that combines the properties of “Stop” and “Yield” — and asks drivers to be polite.

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TED Talks – a new idea for a road sign

http://cargocollective.com/tanyajohnston

Curious works from Tanya Johnston, a graphic designer and artist living in Montreal.

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Tanya Johnston

From the good folks at wickedpaedia.com

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Typography Joke

February and March have brought us a number of new designers and foundries, each with their own style. A few of the more notable include:

• Photoshop Island, the Kansas City-based type wing of Roger Ridpath’s design consultancy Ridpath Creative Partners, with three faces. One, Iron Grunge, works quite successfully as a sort of proof-of-concept of Ridpath’s line of Photoshop brushes - this three-face set is a heavy slab serif with various levels of weathering.
• Fontschmiede is a partnership between former URW++ designers Michel M. and Frank Baranowski. They come to us with 15 new designs, including the heavy, modern stressed sans Dodgy; Und4, a melding of Designers Republic-era faux-Japanese futurism and the minimalist, rule-based alphabets of the Bauhaus; Silverblade, a pointy all-caps face with a distinctly Gothic flair, and Clayborn, an earthy display alphabet that looks like it was cut directly from a quarry.
• Kyrill Tkachev is the eponymous foundry of Ukrainian designer Cyrill Tkachev. His first release is the somewhat informal bold slab serif 9 Months, a soft and friendly face that is equally successful in display and text settings. Inspired by Tkachev’s wife’s pregnancy and the impending birth of his daughter, the face is childlike without being over simple, and would be excellent for children’s books and friendly, colorful packaging.
• Bulgarian foundry Typedepot’s principals - designers Alexander Nedelev and Veronika Slavova - also come to MyFonts with a single new release, the minimalist and slightly rounded Glide. Containing both Cyrillic and Roman alphabets (and all the characters necessary for typesetting West & Central European languages, Turkish, Maltese and even Esperanto) as well as (layerable) solid and sketch variants, Glide is as futuristic as it is smoothly organic, and certainly fills a niche with its solid multi-language support.
• KTKM’s single release - thus far - is designer Kristian M?ller’s extremely accomplished Baskerville Old Face (pictured above), based on the metal originally cut at Stephenson Blake. As of this writing, only a single display weight is available, but we look forward very much to this family being filled out.
• Glyphobet’s first offerings are fun and varied display faces, including the extremely bouncy Ljubljana and the hard-edged Blackletter-inspired Haylurker; both of these (and most of designer Matt Chisholm’s other releases) include Roman and Cyrillic character sets at the very least.

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New Foundries of Note

The work of Demetrius May.

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Demetrius May

Created as a launch vehicle for the new Glasgow 2014 identity as designed by Marque Creative the short piece places athletes in and around urban Glasgow. The film…

via the Design Cove

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Glasgow 2014 20th Commonwealth Games

Stunning portfolio from the Danish purveyors of ‘visual futures’, Pleks.

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Pleks

Before it closed down for renovations in 2009, to reopen in 2011, the Atwater Kent Museum of Philadelphia suffered from lack of exposure. A quick look at the original website reveals all you need to know about the old brand. The brutish colors and default appearance reveal a small organization without much concern for engaging the audience. Compared to the other kid-friendly museums in Philadelphia like the Franklin Institute (whose original home was actually the Atwater Kent building), the Atwater Kent Museum is about as exciting as a textbook. Having visited the museum once in my elementary school class trips, I remember it as an old, austere space that contained just bunch of artifacts. Change was overdue.

Recently, the museum announced a name change to become The Philadelphia History Museum — with “At the Atwater Kent” suffixed at the bottom of the logo. Piloted by local branding firm 160over90, the move makes good sense considering how aloof and incommunicable “Atwater Kent Museum” sounds. With a new name comes a new logo. The logo is meant to be a nod to Philadelphia’s notable street grid. That connection is somewhat of a reach, since shaky single lines are the opposite of what you’d usually get in a street map. Plus, line grids are so common that they don’t normally call for a second glance to find any meaning.

As for the typography, custom drawn letters sit in the grid, forcing words together and breaking them unnaturally. A change of color from gray to blue helps with the mark’s readability, though it’s trendy in choice, like the grid itself. It wouldn’t be surprising if this concept was the first and only idea sketched, with rationalization as an afterthought. Of course, that’s not how the process was described.

The project’s designer, Adam Garcia, began sketching versions of Philadelphia’s grid. We all liked the hand drawn version, as it echoed Penn’s original map while also containing the slight imperfections that make Philadelphia so unique and interesting. The final piece was adding type. And just like Philadelphia itself, that confining grid ended up giving the logo its distinctive character.…

The odd word breaks convey Philly’s inherent quirkiness, and the custom typeface pays homage to the city’s rich printing and typographic history.
— 160over90 blog

I’m not totally convinced. So the fact that it’s custom drawn means that it pays homage to typographic history? If an existing typeface were used, you could say the same exact thing. That probably would’ve been a better solution, too. Here, the ambiguous, techie letters do nothing to communicate anything historic. Instead, the type is nothing more than a result of the unforgiving grid — a forced monospace design that ends up looking cold.

The new logo isn’t horrible, but it all comes together, well, boringly. History involves storytelling, and that’s where the logo falls flat. The only exciting part of the rebranding is the copy on the promotional materials. If only they weren’t so disjointed from the logo’s aesthetic, or vice versa. Gripes aside, an improvement to an underdeveloped brand is still an improvement. The museum isn’t even open yet and already the new name has garnered it some publicity. Renovations are sure to make the space a more interesting experience. When it’s complete, maybe I’ll pay a visit.

Recently unveiled signage at the museum. Photo: Tom Ammon/160over90.

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This Just in: History is Coming Back… Sort of