Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things. They push the human race forward. And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do.
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In one NBC report, a young man in Tottenham was asked if rioting really achieved anything.
”Yes,” said the young man. ”You wouldn’t be talking to me now if we didn’t riot, would you? Two months ago we marched to Scotland Yard, more than 2000 of us, all blacks, and it was peaceful and calm and you know what? Not a word in the press. Last night a bit of rioting and looting and look around you.”
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Brands need to become cultural artifacts rather than existing in vacuumed silos or categories
— Brands Belong in Culture, Not Categories - colindrummond’s posterous
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I enjoy taking a contrarian position when writing here. Mostly because I work in marketing, and things there shouldn’t be taken too seriously anyway.
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Opinion: Trust
There’s one thing you can never have too much of in the design process. Sometimes there can be ‘too many cooks‘ — by that I mean there are too many designers, too many people all chipping in. Sometimes there can even be too much creative freedom — if there’s two words I can’t stand at the beginning of the creative process, they’re ‘Open Brief’. Do whatever I want? WHAT! Tell me the constraints, draw a neat little box and I’ll find an imaginative way to get out of it — that’s how I work best. When you start thinking about it, almost everything can be ‘too much’ when taken to the n’th degree.
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Reviewed: SECCA by Pentagram (Luke Hayman)
Following is a review originally posted on Brand New.
SECCA, or the South Eastern Centre Contemporary Art, is a contemporary art centre in North Carolina. Originally founded in 1956, the organization really got going in 1976 thanks to a philanthropic bequest of industrialist James G Hines’s 32-acre estate. In 2010, after an extensive renovation, they turned toPentagram partner Luke Hayman for a new visual identity to compliment their shiny, newly updated art space.
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Reviewed: W’s new W
Following is a repost of my review of the W Magazine redesign for Brand New
W magazine, first published in 1971, is a monthly American fashion magazine, published by Condé Nast. Its average reader is female, mature and lives in a household with yearly income of $135,840. In response to declining circulation figures, Condé Nast hired Stefano Tonchi creator and editor of the highly regardedT: The New York Times Style Magazine. Tonchi’s first task was to relaunch the magazine, and the logical starting point was the logo or, to use publishing speak, the masthead.
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‘Ask a toad what is beauty… He will answer that it is a female with two great round eyes coming out of her little head, a large flat mouth, a yellow belly and a brown back.’ (Voltaire, Philosophical Dictionary, 1794). Ask Paul Rand what is beauty and he will answer that ‘the separation of form and function, of concept and execution, in not likely to produce objects of aesthetical value.’ (Paul Rand, A Designer’s Art, 1985)
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Observed: Game Mechanics
Now, let me clarify, I’m not completely behind the eight ball here. I first saw this video, with it’s bizarre vision of a futuristic social-game enabled world, about a year or so ago, I can’t be certain. But it has stuck with me, and stuck with me, and, well, stuck with me. Indeed, I’ve even given thought to how game mechanics could be applied to the design studio environment (You mocked up someone elses idea, 1000 points!).
The more I think about what a connected, social, game-ified future could be, the more I like the idea. When I mix together the above game mechanics with the sort of data driven, socially connected and hyper designed coolness of this video from Dentsu, the future looks very bright indeed. (after the jump)
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When you scratch the surface you see the depth of the intellectual problem solving that’s taken place, yet when you first see it it’s wonderfully emotional
— Steve Jobs on Paul Rand via YouTube
