Last year, Bentley produced a short film shot entirely on an iPhone 5s. They’ve produced another Intelligent Details film for their bespoke driving jacket, and this one was shot entirely on an iPhone 6 and 6 Plus.
Two things fascinate me about this film.
First, it’s amazing the level of quality the iPhone camera can produce. This film is beautiful. Granted, professional film techniques were used by pro filmmakers, but it’s incredible what can be achieved with the iPhone. The only quality the footage is still lacking is shallow depth of field. You do get some bokeh on the iPhone 6, but not shallow enough to where it gives the footage that dream-like film look. Maybe one day.
They also produced a behind the scenes showing what went into creating the film. I love how they used an anamorphic lens to produce a wide 2.4:1 aspect ratio.
The second thing that I love about this film is the peek into the bespoke tailoring world. I love fashion, and to see it done at this level is wonderful. The film features four bespoke houses from Savile Row designing and tailoring a bespoke driving jacket for Bentley. My favorite designs are from Henry Poole and Gieves & Hawkes.
Monacelli Press has published the first English translation of an historic 1972 debate between Dutch graphic designers Wim Crouwel and Jan van Toorn, at Amsterdam’s Museum Fodor.
Held in response to an exhibition of Van Toorn’s work at Stedelijk Museum, including student posters protesting the Vietnam War — in an era of youth culture and increasing resistance to authority, capitalism, and the power of media — the stakes were aesthetic, ethical, and politically charged.
Crouwel defended his approach of neutrality and austere rationalism, attention to typography and worksmanship, and professionalism in service of the client’s message. Van Toorn argued for his use of chaos, collage, and photographs of everyday life; that a designer’s ideas, personality, and political commitments are integral to the work.
Order vs. Disorder. I vaguely remember reading about this debate, but I’ve never seen a transcripts of it. Definitely interested in checking this out.
The clothbound book also includes a foreword by Rick Poynor, and a gallery of work from Crouwel and Van Toorn.
And starting today, Design Observer will be publishing four excerpts from the book.
The series includes short sleeve jersey, bib shorts, wind vest and arm warmers, and are all made in Italy.
Founder and designer, Brandon Sincock, explains the design:
The new kit is an evolution of the original design – working with similar elements, and a shared design sensibility, but further exploring layering & the overlapping of elements as they wrap around the body, and transition from front to back. As well, color and typography are always key elements in our designs, and the way the designs play within the context of a rider’s unique position on the bike.
I’m a cyclist, and it’s hard to find clothing that is really well designed, and functional. Looks like Bernard is on the right track.
The great photography is by Jordan Clark Haggard.
Hey folks, I made some changes to the site, the biggest being the typeface. The site is now set in Lexia, a clean slab serif by Ron Carpenter for Dalton Maag. I’m a sucker for a nice slab serif, and Lexia is easy to read.
I also applied some color, using a dark blue as the primary, and I did some minor visual clean-up.
In the late 70s, Haas Type Foundry commissioned Team ’77 to create a new sans-serif that combined the great qualities of Helvetica, Univers and Akzidenz Grotesk. They came up with Unica, which was released in 1980.
Working from prints of Helvetica, Univers and Akzidenz Grotesk, the trio identified, compared and evaluated the finest of details, creating a new-generation sans-serif that eliminated the imperfections of its predecessors. “Unica was designed to be different,” said André Gürtler; “sharper than Helvetica, warmer than Univers, cleaner than Akzidenz.”
Because of legal disputes, Unica has never been available as a digital typeface. Now it is.
Monotype has just released Neue Haas Unica, a full digital set designed by Toshi Omagari. It is also available as a webfont.
Great to see classic typefaces getting a fresh new life in the digital age.
Spin has recently design this new identity for The University for the Creative Arts in England, that is based on the simple stencil. The identity will be applied to stationery, website, print, motion graphics, signage, and environmental graphics.
Hey folks, I’ve been out of town for the last few weeks, which is why it’s been quiet around here. But I’m back and the posts will be back on a regular schedule.
Timeless: Massimo Vignelli is an exhibition curated by design studio Husmee, and Beatriz Cifuentes and Yoshiki Waterhouse, that honors the work of Massimo Vignelli. It’s open now until April 18, 2015 at the Okendo Cultural Centre in San Sebastián, Spain.
The exhibition includes original work from Vignelli and a series of posters designed by a select group of designers and design studios, that include Atlas, Toko, BVD, Hey Studio, Mash Creative, and Spin.
The lovely poster above was designed by Mash Creative.
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