With a New Year resolution to get out more, I share a few events I’ve recently bought tickets for. Who knows, you might be interested in them too.
I wasn’t going to write about 2015, but reading a few end-of-year reviews has encouraged me to attempt the same, so here goes…
Canadian design super-duo Hulse&Durrell, worked on what could only be described as my dream project. Researching 120 years of Olympic design heritage, they then documented and digitised hundreds of assets for use on officially licensed merchandise:
Beginning with the core elements of each Olympic Games identity (emblems, pictograms, mascots, and official posters), we set out to find their most authentic sources. The journey took us from the Olympic Museum archives in Switzerland to Olympic historians, private collections, and past-Games design directors around the world.
Where possible, emblems, mascots, and pictograms were re-created with the original techniques of their time. Design manuals originally intended for use with protractors, compasses and paintbrushes became blueprints once again – this time with a digital toolset in mind.
For wordmarks, classic typefaces like Univers, Helvetica, Times, and Futura were adapted to reflect the movable type printing process of their respective times and places. Physical artifacts were also referenced against the modern Pantone colour matching system to ensure tonal authenticity.
The result is the most comprehensive, authentic Olympic art and design collection ever created.
Jealous? I’m green with envy.
Chris Lockie puts forward the case for why Londoners should support black cab drivers this Christmas, even if it means paying a little extra:
Black cabs are fighting back, but without the support of the people of this city we are going to lose a fine service that is doing everything it can to keep up with the terrifying march of modernity. Give black cabs time to adjust to the Age of Cheap, and eventually you’ll come to appreciate their solid, dependable service.
If you don’t, black cabs will die, an honest occupation will go with it, Uber will put their prices up immediately, and the moment driverless cars become a reality they’ll be all over it like Cameron on swine (because if you think Uber cares about their drivers, you’re way off).
This article pretty much sums up my feelings regarding Uber: avoid at all costs.
Justin Avery, who curates Responsive Design Weekly, asked me to revisit the four questions I answered as part of an interview series in 2013. Here are my answers.
With Drew kind enough to let me write for 24 ways again, this year’s contribution was an opportunity to bring together a series of thoughts that had been languishing in my drafts folder. These centered around modular design, in particular the growing use of front-end style guides:
In straddling the realms of graphic design and programming, it’s the point at which they meet that I find most fascinating, with each discipline valuing the creation of effective systems, be they for communication or code efficiency. Front-end style guides live at this intersection, demonstrating both the modularity of code and the application of visual design.
I also wanted to write about the role CSS preprocessors can play in this context, one that ensures their use is more considered and focused. Such is the power of preprocessors like Sass, that without exercising restraint, we can find ourselves creating endless abstractions, with even the most fundamental aspects of CSS being drawn into the mixin. Much like jQuery (and frameworks like Bootstrap and Foundation), we can find ourselves growing dependent on such tools, to the extent that simpler, more effective alternatives get ignored.
Thinking of Sass an an intermediary between CSS and a visual language, is one way I try to keep my reliance in check: if you see a mixin or variable in my CSS, it should relate to an attribute in my design system.
So, I end this year much like I did the last, with one final article on a topic of interest. Unlike last year, I’m looking towards a new year that sees me write less long-form pieces like this. Instead, I wish to spend more time making things (my list of abandoned/neglected/potential side projects can only grow so long), and perhaps embracing a means of writing that’s a little more fast and loose.
Ten years ago today, I boarded United Airlines flight 955 from London Heathrow to San Francisco. Here’s what happened next.
One of my favourite aspects of the show is the opening titles, which feature shots taken from this extended version. Fernando Livschitz’s vivid tilt–shift photography pairs well with Jon Batiste & Stay Human’s signature tune, and showcases New York City to the extent that I now want to make a return visit.
The hackability provided by Jekyll’s plugin architecture has brought about an unexpected consequence: I’m starting to learn Ruby.
Freelancing can sometimes feel like a roller coaster of emotions, and this post finds me at one of its lowest points. Eight months in, now seems like a good time to consider the ride taken so far, and consolidate some of the lessons learnt.
Leo Benedictus writes about Brighton’s new ‘vertical pier’ in the Guardian:
About once a century, Brighton builds something mad. Between 1786 and 1823, it was the Royal Pavilion, an Asian fusion fantasy fun palace where the Prince Regent could eat, drink, gamble and fornicate more ostentatiously than would be polite in London. Between 1866 and 1916, with mass pleasure-seeking now enabled by the railways, it was the West Pier, the great masterpiece of the architect Eugenius Birch, featuring a pavilion (later a theatre) and eventually a concert hall. Next summer, right on time, it will be something new. Most of Britain doesn’t know about it yet, but pretty soon it will be one of the country’s most famous buildings.