A quick note. Sunday at 3:30 in Austin, John Gruber of Daring Fireball and I will be making a joint presentation at SXSW called Online Advertising: Losing the Race to the Bottom. Hope to see you there.
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From a leaked memo, a strange list of "forbidden 'newsspeak' words and phrases" not to be used by anchors and reporters on WGN-AM, a local news/talk radio station.
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More on today's theme, Lester Beall, American graphic design pioneer and notes from Alexandra Lange.
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Honored to add a small bit to the growing collection of advice at Mig's Humble Pied. But seriously, what's with my hands?
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I really, really believe that AR will save print. It Extends and stretchs the medium out to the online world in facinating ways. There are some super examples of the new tech at work but there are so many dogs. AR is coming off more as a gimmick than a leap forward. Colors Magazine, I expected more from you....
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All of Yoshi Akai's music-based experiments are great, but his Lego Sequencer MR II and Credit Card Scratcher are particularly awesome.
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OK, early 70s but worth another look today. Pan Am's Helvetica Dreamtime, "how I unearthed a forgotten chapter in corporate design history."
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What happens when you decide Pluto is no longer a planet? You start getting hate mail from third graders.
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In keeping with this morning's theme, here's a piece by OK Schenk from 1960: Art Directors Are Crazy.
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David Pearson's hand-stamped covers for new editions of Cormac McCarthy's books.
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Related. Andy Warhol and Sonny Liston.
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The Alexander Girard era at Braniff Airlines and an article about it by Jason Mojica. Thanks Ken.
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Putting the "Mmm" in McCain, the politician rebrands with bacon.
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For BB: She and Him's new music vid, In The Sun, directed by TV/movie vet Peyton Reed.
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Transport for London's clever PSA: "The Bank Job."
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1960's Scandinavian design logos.
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Some mornings, without warning, a trend develops in Fresh Signals. Today, let's call it "Design & Art Direction in the 1960s." Use the contact link below if you have a contribution.
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More George Lois Esquire Covers.
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From the pebbly matte steel skin to the zippery feel of the margin controls and the interchangeable "golfball" element, the Selectric stands as an icon of industrial design and a shape that still defines an era of modern business. The designer? Eliot Noyes. Maybe you don't know him? Maybe you should.
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"In one swift stroke, the age-old and artificial separation between copy and design was dissolved." ADC HoF Robert Gage.
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