Category Archives: Design

Font Hunt

Giving back to Twitter department: earlier in the month I asked people who follow me on Twitter for recommendations for new typefaces.

What I was looking for was an alternative to the typeface Klavika, which I quite like; it’s among the very best fonts that have been released in the recent past, in my opinion. Inconveniently for me, I somewhat subjectively regard Klavika as having been ‘claimed’ by a friend of mine who uses it more consistently and more effectively than I do.

So I wanted something of my own, something similarly contemporary and similarly strong in its forms, a real workhorse of a typeface that I can call to duty during those times when Helvetica won’t do. I got back tons of replies, and I thought I’d present my favorites here for those who might find themselves on a similar hunt.

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Personal References

I get a very minor mention on page fifty of Armin Vit and Bryony Gomez-Palacio’s new book, “Graphic Design, Referenced,” but that’s not why it’s worth blogging about. Rather, this book is notable as an ambitious and largely successful attempt at capturing the current state of graphic design, or at least its current state as seen through the uncommonly thorough gaze of two young, talented and already influential designer-editors.

Vit and Gomez-Palacio, operating under the name Under Consideration, were responsible for the now shuttered but once widely-read design criticism site Speak Up, where they played a key role in shaping the graphic design conversation over the past decade. Now, in “Graphic Design, Referenced,” they’ve capitalized on their rather breathtaking ability to pull off massive editorial feats with a kind of contemporary history of their chosen field, a beautiful, page-turner of a tome that aims to be “A Visual Guide to the Language, Applications, and History of Graphic Design.”

I received my copy in the mail not long ago and was frankly astonished when I opened it up. I was vaguely aware that they had been working on a book, but I had no idea that they had aimed so high. So I felt compelled to find out more and struck up an email conversation with Armin, a friend of mine, to find out more.

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The Meaning of Photoshop

Whether France’s proposed Photoshop retouching notification law is a valuable idea in the interest of the public good or a misguided example of government overreaching, I can’t say. But I’m pretty sure that it’s a debate worth having. In case you hadn’t heard, earlier this month fifty politicians put a law in front of French parliament under which digitally manipulated images would bear the somewhat rueful label “Retouched photograph aimed at changing a person’s physical appearance.” The goal is essentially one of public health and consumer expectation: don’t try looking like this at home.

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Our Craigslist

Wired MagazineThe cover story for the September 2009 issue of Wired takes a look at the current state of Craigslist and the challenges it faces as it continues to evolve. In a sidebar, the magazine’s amazing art director Scott Dadich invited several designers to re-imagine and redesign Craigslist itself.

In addition to inviting contributions from SimpleScott, who was the former design director at BarackObama.com, Matt Wiley of Studio8 Design, and Luke Hayman and Lisa Strausfeld of Pentagram, Scott was kind enough to ask me for my take as well, and I leapt at the chance. I conscripted two colleagues from my design team at NYTimes.com to help me: Anh Dang who provided an invaluable sounding board for the information architecture and interaction design, and Paul Lau, who helped turn around the visual design literally over a weekend. You’ll see the mock-ups we submitted on page 104 of the magazine or, here at this link.

A magazine sidebar of course has a finite amount of space in which to show and explain the ideas that went into this design. Thankfully, someone invented blogging, which is not similarly space deprived — and so I shall now use the medium to indulge myself accordingly. Here, then, is a closer look at the mock-ups we submitted.

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Drawing Power at The Times

Sketchbook Obsession at The New York TimesThe latest exhibition at The New York Times art department’s 7th floor gallery space is called Sketchbook Obsessions, and it opens tomorrow evening, Thu 16 Jul, at 7:00p. If you’re in New York and can make it, you’re more than welcome to do so — just send an R.S.V.P. as soon as you can.

This show is all about sketchbooks, and it features a blizzard of pages from the sketchbooks of some of the brightest names in design and illustration. I’ve been watching my colleagues here as they’ve been hanging the show over the past couple of weeks, and it looks great. The wall is literally covered with countless amazing doodles, and it really captures that immediate, raw energy of unconstrained sketching, the instantaneous transmittal of ideas to paper via pencil. It’s going to be a fun show, and best of all it’s free.

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Minimalism, Michael Mann and Miami Vice

Public Enemies“Public Enemies,” the new film about the notorious bank robber John Dillinger, is an amazing movie. Then again, I freely confess a predisposition to liking the work of its director, Michael Mann. I’ve seen nearly every movie he’s released, and there’s not a single one of them that I’ve found to be less than completely engrossing.

Over the course of his career, Mann has produced a taut, stylistic and often brutally impersonal filmography that seems most interested in the concept of work. His movies are preoccupied with how men (almost always men) of extraordinary skills practice their craft — and the price they must pay for doing so. “Public Enemies” is no exception, and for those who are expecting a florid character portrait set in a bygone era, make no mistake: this movie is about how John Dillinger robbed banks and about how G-men hunted him down, and only that. It is resolutely disinterested in its principal subjects’ family backgrounds, romantic histories or psychological makeups.

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The Living Room Problem

I’ve been trying to think if there’s ever been a consumer experience that’s quite as much of a mess as watching video at home is today. What was once so simple now seems inordinately, hopelessly complex. The old paradigm of simply buying a television set, attaching an antenna or a coaxial cable and turning it on seems like a ritual from a lost epoch, something far less evolved humans settled for in order to enjoy scraps of primitive entertainment. In these more sophisticated, digitally-enhanced times, the living room has become a mess.

Now, watching television requires a complex orchestration of sources, devices, meta-systems, cables, asset management and general confusion. Currently in my living room, I have a veritable cat’s cradle of a setup, including two DVD players, a home theater system, a secondary speaker system, an Apple TV, a MacBook, and a putative ‘universal remote’ that nevertheless fails to obviate the many additional remote controls that linger on the coffee table. (Yes, there’s a lot of redundancy there, but sadly there’s some kind of resigned argument for all of it.).

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Typography in Doubt

Over the weekend, resigned to the couch while fighting a cold, I watched John Patrick Shanley’s movie adaptation of his own play, “Doubt.” It’s a truly superb piece of dramaturgy that’s gripping and not a little depressing, to be honest. But it’s also sure to reward any viewing, so thought-provoking and thoughtful are the plot and dialog throughout the movie’s 104-minute running time. That includes the movie’s beautifully simple titles, too. In fact, the titles of this film are so effective, they reminded me of how rare a thing is truly intelligent, rewarding typography.

These titles are not flashy at all, just quietly authoritative in their evocation of tradition and faith and understated in their suggestion of betrayal and suspicion. Though I can’t identify the typeface unequivocally, it’s almost certainly some variant of Cheltenham, a handsome serif face designed at the end of the 19th century by Bertram Goodhue.

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Muxtape Pushes Play Again

MuxtapeIn its original form, Muxtape, the still-influential and, at the time, insufficiently legal music sharing site was a service for users to load and share playlists of their own music. Since its demise last year, it’s been greatly missed.

In its latest incarnation, launched last week, Muxtape has been re-imagined as a service for bands, allowing them to assemble and customize promotional pages (including their own playlists) from stock parts. (For now, bands can only participate if invited by other bands.) It’s a radical makeover, but if you were to overhaul the now-iconic Muxtape 1.0, this would be a very sensible way to do it.

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