This is the question the design team at Design Barcode asked itself when it set out to innovate a new way for companies to think about how their valuable product real estate gets used.
After endless study of Barcode technology standards, a process was invented that allowed a design element to be
integrated into the barcode.
Hello,
After receiving lots of emails about submissions, people really started to send their own stuff!
http://www.flickr.com/photos/omegacode/
So here is the cool thing:
We are opening a Fan Art set for submissions. Download our template and send us your art: http://tinyurl.com/7fdb7j
We’ll pick up 20 illustrations and feature them on our upcoming book.
Deadline: February 27th.
Send us your LOWRES 72 dpi to
hello@omegacode.net
Size:
Up to B1 in 300 dpi
(as we may print them later)
* No need to have anything written.
HOTS: Religion, Spirituality, Noir, Mysticism, Alchemy, Tree of Life, Experimental
NOTS: Porn, Offensive Content, Violence
Cheers,
Omega Code
An art installation by David Cerny, commissioned by the Czech Republic to mark the start of its six-month presidency of the European Union, has angered some by depicting stereotypes of the member countries. The 172-square-foot, eight-ton installation, titled “Entropa,” is located in Brussels at the European Council. France was shown with a banner emblazoned with the word “strike” draped across it.
slideshow: http://www.nytimes.com/slideshow/2009/01/15/world/0115-MOSAIC_index.html
article: http://www.nytimes.com/2009/01/15/world/europe/15mosaic.html?hp
Damien Correll and Garrett Morin are 2/5ths of the Brooklyn-based studio collective, Rad Mountain. Individually their work has been featured in IdN, Dwell, Flaunt, Good, and The New York Times. Both are recipients of the 2008 Art Directors Club Young Guns award. They work as designers, illustrators, directors, and print makers on projects as varied as magazine art direction, music videos, apparel, toys, set design, and short animations. The list continues to grow as they focus on more collaborative projects together.
Above: Garrett Morin (left) and Damien Correll (right)
http://www.radmountain.com/
http://www.damiencorrell.com/
http://www.garrettmorin.com/
TIME AND PLACE
Wednesday 21 January 2009
6:30–8:00PM
Apple Store, Soho
103 Prince Street
New York, NY 10012
WC: Are you talking about advertising agencies?
EJ: As well. But increasingly more designers are preoccupied with these kinds of marketing concepts. And we find that a pity.
WC: For whom do you make your creations? Yourselves, or the public?
EJ: We don’t really see that division. In our opinion, target-audience-based approaches do not automatically result in more functional designs. Designs that have a sort of built-in resistance, a certain stubbornness, could very well be the ones that function the best in a society, in the way that a grain of sand can produce a pearl in an oyster.
WC: Nevertheless, I think that the truth lies somewhere in the middle. The heart of the matter is to create intelligent and self-confident designs focused on a target group, without being outsmarted by that target group.
02.
WC: I really like what advertising agencies such as Kessels/Kramer are doing. Interesting things are happening in all sorts of areas, both on the commercial side and in the cultural sector. But in contrast to the commercial side, the cultural sector allows the designer carte blanche, obviously.
EJ: In our view, the exact opposite is currently the case. The role of the designer at ad agencies is actually quite free of restraints. This type of agency is usually divided into two camps: the creative section and the business section. The agency extends a relatively large chunk of autonomy to the designers. They have complete freedom to launch ideas; and then, as if drawing from a ‘lucky dip’, the business side pulls out a few ideas, which they may or may not use. At a small design agency like ours, however, this division does not exist. The business and creative aspects coalesce completely. As designers, we have very short lines of communication with our clients. That is another reason why we never work for advertising agencies: in advertising there are excess filters between the designer and the client. A superfluous layer of middlemen, which results in a great deal of interference.
WC: What you are specifically referring to are the large, old-style advertising agencies. To me, the modern, smaller agencies seem to be organized differently.
EJ: In fact, it’s that old-style function of advertising that appeals to us much more: that the potential users of a product are informed from the point of the intrinsic characteristics of that product. Advertising now is heavily focused on projecting an image onto a product from outside the product itself. We really dislike that side of advertising.
WC: That is the old discussion that I have encountered a great many times. As a designer you want to be informative, yet in advertising they think far more in terms of atmosphere and mood. Take my experiences with Nutricia, for example, where I designed packaging and advertisements a long time ago. I was taken on a guided tour of the factory where evaporated coffee-milk was produced and was immediately fascinated by the hygienic working methods and the technology that was used: the gigantic stainless-steel kettles for heating milk to various temperatures. I wanted to show that process in my advertisements. But they would have no such thing! I was told that they might as well just shut down the factory if I did that. They wanted ads showing people enjoying coffee at special moments and ads about the rich colour that their product imparted to coffee. And, there is no changing that way of thinking. So perhaps it is true that designers ought not to get involved with that. It’s probably better to leave those activities to others.
What we find so fascinating about graphic design is precisely that, in its ideal form, it is a perfect example of ‘praxis’: a synthesis of theory and practice in which each informs the other, simultaneously. In the true practice of graphic design, the artificial borders between manual labor and intellectual labor are torn down. Thinking becomes a form of making, and making becomes a form of thinking.
In ‘Socialism and Print’, Debray hints at a similar model of praxis, when he refers to both the professional typographer and the professional printer as quintessentially a “‘worker intellectual or intellectual worker’, the very ideal of that human type who would become the pivot of socialism: ‘the conscious proletarian’”.
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The longest election season in memory is now over, and we wanted to help you unwind and express yourself as we head into the new era.
Make your own “Obamicon” — your image in a style inspired by Shepard Fairey’s iconic poster. Regardless of your candidate of choice in the 2008 election, here’s your chance to sound-off.
Take your picture with a webcam or upload a photo, choose your own message, and submit to the gallery.
Foodstckr is a rapidly developed web application prototype that lets people create their own food labels to then print and place on food in grocery stores. Winner of the MIT Simplicity Consortium Winter 2007 “24-hour build-a-thon” competition.
A new monster will arrive every day of 2009. (Not including big American holidays and weekends). Strange because the creatures typically hail from Japan and other “Parts Oriental.”(If you must know, I recover them by time machine.)
Check daily for new monsters.
We’ll be adding more features as warranted. If you care, this site is built via the Internet’s railroad system.
The Étagère is a product of Taco Lab. It is managed by Mstr. Kalanithi in close collaboration with me, the eponymous Prof. E.
Good tidings,
Prof. E. Engd, D.hP.
January 10, 2009 through February 7, 2009
NEW YORK, NY (December 15, 2008) — Jonathan LeVine Gallery is pleased to present Kindling, a solo exhibition of new works by James Jean. For his first show at the gallery, Jean has created a collection of original large-scale mixed media paintings and drawings on canvas, linen, and paper. Kindling will be Jean’s debut solo fine art exhibition, marking a highly anticipated event for this remarkably accomplished and acclaimed young artist.
Pushing the visual-audio frontier.
http://omegacode.net/
http://omegacode.net/
http://omegacode.net/
http://omegacode.net/
Modernist legend, Massimo Vignelli is offering a free downloadable version of
The Vignelli Canon
This digital edition has been conceived as a book that could be reached directly by downloading it directly to your computer, making it available to the whole world, bypassing the problems caused by traditional distribution.
Divided in two sections, Intangible issues and Tangible issues, the book describes the basic rules of our work.
Martijn Hendriks is a Dutch contemporary artist who works with found images and video. Selecting from an abundance of defaced and marginalized media he wages a low-key struggle to dissolve the misinformed haze that permeates image searches and suburban videography. By salvaging and promoting a variety of different source material, and through systematic alteration and redistribution of that material, he explores inherent paradoxes in today’s society.
“A journey trying to figure out a traumatic memory from the past is a commitment to long term therapy. My therapy lasted as long as the production of Waltz With Bashir for years. There was a shift from dark depression as a result of things discovered to being in euphoria over the film finally being in production with complicated animation being done by the team at a pace better than expected. If I was the type of guy who believes in the cult of psychotherapy, I ’d swear the film had done miracles to my personality. But due to previous experience, I ’d say the filmmaking part was good, but the therapy aspect sucked.”
Establishing your own model of Cultural Production
In this era of “post-integrity” the former polarizing forces of “selling out” versus “keeping it real” have been replaced by many shades of legitimacy and authenticity. As a cultural producer, whether you consider yourself an artist or designer, the challenge is to take advantage of the variety of contexts that help frame your work.
In this day and age, a graphic on a skateboard that hangs on a gallery wall has a far different meaning and value than the skateboard for sale at the local skate shop. The beauty of our current cultural circumstance is that one has the ability to place one’s work in a variety of contexts and as a result our work grows in meaning and value. Cultural production is no longer mutually exclusive to one setting and as a consequence the artist/designer has a responsibility to forge their own path and to flex the power of their own creative voice in responsible and meaningful ways.
As we move forward, we can not prevent the co-oping of the value of a celebrity image or the gross commercialization of an otherwise authentic creative impulse. All we can do as creative individuals is support the contexts we believe in and actively point out the contexts we feel devalue one’s creative efforts. In the end, creativity and commerce are a balancing act with no real right and wrong.
more at http://athleticsnyc.com/blog/entry/design-and-the-search-for-authenticity
From a recent New York Times article by A. O. Scott titled “The Shape of Cinema, Transformed at the Click of a Mouse”:
It is now possible to imagine—to expect—that before too long the entire surviving history of movies will be open for browsing and sampling at the click of a mouse for a few PayPal dollars…
Unbeknownst, or, rather, acknowledged by Scott and the folk$ at the NYT, it already is. And, save for the bit about PayPal and dollars, it’s called Karagarga.
Karagarga calls itself “a private bittorrent community specializing in arthouse, alternative, cult and classic movies”. I call it: a treasure-trove of world cinema. Want some Jacques Rivette to pass your evening? Take your pick from 14 films. How about some Yasujiro Ozu? There are 39 to choose from. Satyajit Ray? Kazimierz Karabasz? Nicholas Ray? 32. 10. 21. How about a huge list of film noir, a detailed write-up of films from Quebec, or helpful introductions to films, film movements, and filmmakers you haven’t discovered yet? Check, check, and check. In fact, all encompassed, Karagarga’s history of movies contains over 13,000 films! All with passionate discussion, background info, and links to subtitles (some hand-made) in a variety of languages; and all constantly up-kept to make sure the rips are of the highest quality possible.
What you won’t find at Karagarga, however, are mainstream films, screeners, or anything shot with a camcorder inside a movie theatre. If that’s what you’re looking for, the Internet is already teeming with more than enough sites to tickle your urge. If, on the other hand, you’re interested in a community of worldwide cinephiles dedicated to the preservation and experience of over one hundred years of cinema, come on in, and join. It’s free. It’s fun. You’ll make friends.
http://criticalculture.blogspot.com/2007/03/karagarga.html
http://karagarga.net/
“Notorious” is about the life of rapper Christopher Wallace a.k.a. The Notorious B.I.G. In just a few short years, The Notorious B.I.G. rose from the streets of Brooklyn to become one of the most influential hip hop artists of all time. B.I.G. was a gifted storyteller; his narratives about violent life on the streets were told with a gritty, objective realism that won him enormous respect and credibility. His stories were universal and gave a voice to his generation.
The film stars multiple award winner Angela Bassett as Christopher’s mother Voletta Wallace, Derek Luke as Sean Combs, Anthony Mackie as Tupac Shakur and introducing Jamal Woolard as The Notorious B.I.G.
1. Wet
2. Soap
3. Wash for 20 sec
4. Rinse
5. Dry
6. Turn Off Water with paper towel !
Funeral Parade of Roses (薔薇の葬列 Bara no Sōretsu?) is a 1969 Japanese film directed by Toshio Matsumoto. It is a loose adaptation of the Oedipus Rex story set in the underground gay counterculture of 60s Tokyo.
My Japanese film professor made us watch this in class. It was…..interesting.
