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The Plumen 001 is a Hulger product and was designed by Hulger & Samuel Wilkinson.
The Plumen 001 was awarded the Brit Insurance Design of the Year in 2011, one of the world’s highest profile international design awards. It was also awarded the prestigious Black Pencil at the D&AD awards in the same year.
It has also been recognised by renowned design collections around the world including the Victoria & Albert Museum in London, the Finnish Design Museum and the Cooper Hewitt collection, based in New York.
Lately Synoptic Office has been exploring the physical space of letter forms, not as they appear on paper, but as they might look if they were mountains, for example. That's essentially what they've done with their latest project, "Alphabet Topography," a landscape of laser-cut letter forms whose height is determined by how frequently it's used in our lexicon. When viewed altogether this new typeface "maps the rhythmic ebb and flow of the English language." You can see that E is used a ton whereas P, not so much.
Prior to this they created "Swell," another experiment with the physicality of language. It's based on the same idea of height in accordance to frequency, but in this case it's represented by black tape on a wall that maps out "a complete digital open typeface with letterforms reminiscent of the screen." It sounds abstract when you try to describe it, but Caspar Lam and YuJune Park, the founders of Synoptic Office, have the ability to visualize high-concept ideas in an open and expressive way.
Posted by Rachel Briggs
It's not a fight for the public space, it's to be seen as a lovely addition to that space. An addition that hopefully brings a smile, and brightens someones day. The eyebomber use humor and wit to reach its audience, not vandalism or provocation.
Posted by Rachel Briggs
A continuing issue in industrial design education is when to allow students to move from sketch work to 3D CAD modelling during studio practice—or whether to let them use CAD at all! I've heard of first year undergraduate modules where students are 'banned' from the use of CAD in an attempt to encourage sketchbook work and more explorative conceptual design practice. In my view this approach is somewhat draconian and does little to deal with the underlying reasons that attract less experienced designers to the comparative certainty of 3D CAD.
Instead of setting constraints or limitations to dictate where and under what circumstances design tools must be used, design education needs to provide opportunities for young designers to reflect upon the nature of their own design activity and how this informs their use of design tools. Design students should consider the bigger picture that constitutes the various requirements of a design process in order to think about how tool use locates within and is informed by a requirement to design. This awareness will then provide opportunities for students to make more informed decisions when working with design tools; to be more critical in their use of CAD tools and more confident in their own sketching abilities.
My own research has explored the increasing variety of tools the industrial designer has at their disposal to support the development and communication of design intentions. Findings indicate that sketching continues to underpin design activity. Professional experience also influences the use of sketching in support of design activity. Less experienced design students tend to lack confidence in their sketch ability and they find the dynamic, unconstrained medium at odds with an approach to design activity that errs towards fixation and attachment to concept.
posted by Rachel Briggs
While there are plenty of books on figure drawing and fine art in bookstores, precious few appear on the art of design sketching. Learning Curves is Klara Sjolen's follow up to her 2005 book Design Sketching. Students at the Umea Institute of Design generated the content of the earlier book, while the more recent book showcases the output of working designers.
While Curves could be characterized as a sequel of sorts to the first book, drawing is a deep enough field that either book could be used as a starting point. Learning Curves is thicker and includes a broader range of modern techniques (e.g. using 3D CAD models as sketching templates, marker and Photoshop). Both books include demos on ellipses, shadows, perspective and materials. The 2005 book has more detailed tutorials on form and the more recent has one of the finest descriptions of different pens or materials we've seen yet. It is also testament that the earlierSketching showcased extremely capable work from the students at Umea, since even a professional would be hard-pressed to determine whether a given sketch from either of the books was generated by a student or a pro.
Posted by Rachel Briggs