Name that

As designers, we like to think we’re pretty observant—at least more observant than the average joe anyway—especially when it comes to typography. Well, WE better be! Test your powers of observation with this interesting little quiz called, The Empire Poster Quiz. It challenges you to identify a movie by just one letter from its movie poster, taken out of context. Trust me, it’s REALLY tough. I only got 14 correct out of 46. Maybe it’s because some of these typographic solutions are utterly forgettable…well that’s my excuse anyway.

Let me know how you score. You must click return after every entry to see if you are correct, then add up all of your green checks manually at the end. Think, think, think and have fun, but don’t cheat! Clicking on the letter will reveal the poster when you have completely given up.

Hint: Some of these movies are very recent and some are classics, but all were big box office hits. There, that’s more information than I had when I took this quiz.

www.empireonline.com/features/posterletters

Hi-Fi Typography

Fast Asleep by Funki Porcini (released July 2002).

Obviously not new, but this album cover is new to me. Once you see the typography embedded in all that vintage recording equipment, you have to marvel at the craftsmanship. Could this really be a life-size constructed set (with tons of complex Photoshop work, of course)? However it was created, it’s pretty amazing.

I discovered the image today on iLT and dug a little deeper to try to find out something about the artist who created it. From the album’s liner notes: “The Uterus Goldmine modelled and designed by Openmind (132 layers and still counting).” Couldn’t find much else, so please let me know if you know more…

The Uterus Goldmine also refers to the name of the artist’s recording studio in Grimsby, U.K.

Favorite Kinematic Typography

Kinematic typography refers to the art and technique of expression with moving text.

My design colleagues have been sharing these short typographic films with me for months. Simply mesmerizing. Thanks everybody!

If you start digging, you’ll find hundreds more of these on YouTube. You could spend hours, so I’ve tried to narrow it down to a few of the better examples. Many utilize very similar techniques. Here are a handful that I never tire of watching. These in particular, pair typography with some of our favorite scenes from movies and TV shows. I believe these are student projects (I apologize but it’s really hard to find proper credits). Enjoy…

Ocean’s Eleven

Psycho

The Office (Benito Mussolini’s “War Statement” as interpreted by the incomparable Dwight Schrute)

The Big Lebowski (animated by Koos Dekker)

Just for Fun, but Not for Kids

Why? They’re just too pretty for a little rug rat to sink his/her teeth into (trust me, I have a 2-year old)…not to mention, they go for a steep $100 a set! Created by House Industries in a collaboration with the estate of textile designer, folk art collector, architect, graphic and interior designer, Alexander Girard (1907-1993). The 28-block set features alphabets based on a upcoming Girard font collection (also by House Industries), as well as vast array of beautiful sun icons based on designs for the famous NY restaurant La Fonda del Sol (1961). The entire restaurant, including the furnishings, dishware and table linens were designed by Alexander Girard.

Girard has been called one of the most underrated designers of the 20th century. He is best known as one third of the Herman Miller company’s legendary postwar triumvirate (along with George Nelson & Charles Eames).

You can find more of Alexander Girard’s vintage designs at máXimo.

“Toys represent a microcosm of man’s world and dreams; they exhibit fantasy, imagination, humor and love. They are an invaluable record and expression of man’s ingenious unsophisticated imagination.” — Alexander Girard

Designers for Obama

Sure, I’m intrigued by Barack Obama. You have to admit, the guy really has his act together. Not just as a breath of fresh air on the political scene, but his campaign identity seems to have reached groundbreaking levels too. Check out his web site: barackobama.com. Every inch of it, from the black and white portraits to the smallest typographic details — the quality is pretty exceptional. The design of the original logo is credited to Chicago-based firms Sender LLC and mo/de. The evolution of brand appears to be painstakingly well-considered, and flawlessly executed and maintained by the Obama campaign and its current design team. Pay particular attention to the interpretations of the logo under the “People” and “State” sections.

You’ll notice subtle and not-so-subtle variations of the Obama mark and typographic treatments. Each is meticulously crafted to appeal to his very diverse constituency. Now, not every single one is a “home-run” in my book, but you have to appreciate the effort that went into these. Frankly, I don’t think I’ve ever given any political campaign’s identity a second look until now. Actually, I take that back…

In 2004, at Nesnadny + Schwartz, we designed a new campaign for the Planned Parenthood Action Fund. During this time, Planned Parenthood had endorsed John Kerry in the presidential election. The challenge was to create something clean, crisp and typographic — a bold message that would “stand up” and get noticed in a sea of humdrum stars and stripes and improper uses of backward apostrophes and prime marks (see how many ‘08s and 08’s you notice in the coming year). Anyway, we were very proud of all of those “Stand Up for Choice” exclamation marks behind John Kerry. We felt certain our work was making an impact. Unfortunately, it didn’t help to get Mr. Kerry elected.

Nonetheless, I’m happy to see firms putting some much needed passion into this area of design. Generally, I think firms don’t want to touch politicians with a ten-foot pole (and who could blame them?), but then again, this is the election of “change” and it’s always the right time for good design.

Now, if only there was a way to measure the effectiveness of graphic design on the political process.