All posts tagged “2012”

Massimo Vignelli’s Signed 2012 NYC Subway Diagram: The celebrated graphic designer’s illustrious map for the MTA is now available as a poster print

Massimo Vignelli's Signed 2012 NYC Subway Diagram

Less than one year ago, the world lost one of its most important creative minds with the passing of Massimo Vignelli. The celebrated graphic designer bestowed upon us a great number of now-iconic designs, though perhaps none more visibly lasting……

Continue Reading…


Cool Hunting

10 Useful jQuery Plugins for September 2012

jQuery is one of the most popular javascript Libraries on the web, and developers as well as designers are more than familiar with jquery’s functionality and features. jQuery is one of the most…

For full article and other interesting tech related stuff visit the website.
SkyTechGeek

Round: 2012 Jewish International Film Festival Identity and Collateral

In 2012, Australia-based Studio Round was tasked with developing a brand new identity for the Jewish International Film Festival. Their goal was to reposition the event as a “contemporary, forward-thinking selection of international Jewish films, and move it away from its stereotypes.”

Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life

Our approach speaks to both the Jewish and the wider, local community of film lovers. The concept was centred around the idea of different worlds colliding, the contemporary and traditional, and the thought-provoking, diverse selection of films. What resulted was something not so kosher — an identity that reflected the new vision and passion for the future of the festival; a platform for discussion and dialogue, a celebration of diversity, and new ways of looking at Jewish film.

Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life Round: Jewish International Film Festival / on Design Work Life


Design Work Life

Android Malware Doubles During 2012

When you’re evaluating mobile device management solutions, make sure that your service has the ability to scan for and eliminate Android malware so that you can keep it out of your network….

For full article and other interesting tech related stuff visit the website.
SkyTechGeek

The 2012 Feltron Annual Report

Nicholas Felton has once again created a stunning annual report for 2012. This year’s version features 16 pages with sewn stitched binding, printed with 5 spot colors and a laser cut cover. The printing is limited to 2500 copies, and last I checked they were going fast, but you may still be able to snag one here.

NicholasFelton_AR2012_01

NicholasFelton_AR2012_02

NicholasFelton_AR2012_03

NicholasFelton_AR2012_04

NicholasFelton_AR2012_05

NicholasFelton_AR2012_06

NicholasFelton_AR2012_07

NicholasFelton_AR2012_08

NicholasFelton_AR2012_09


Design Work Life

Discover Typographica’s “Our Favorite Typefaces of 2012”

The wait is finally over, and it was well worth it. Not a Best Of-list nor an Award, Typographica’s Our Favorite Typefaces of 2012 celebrates type design by inviting type connoisseurs – typographers, type and other designers, type commentators, … – to select one typeface released in the past year and write a review about it. This year’s edition features over 50 of those reviews, offering a varied overview of the current state of type production worldwide. Matthew Butterick perfectly describes the purpose and intent of Typographica’s epic effort in the comments:

This feature is not a beauty pageant. It is not an award. It is a way to recognize the good work that is going on in type, and confirm that it remains a vital field of design exploration.

The writers – people who know about type – get to explain why certain typefaces work well. The readers get to learn about typefaces they would have likely overlooked, and hopefully learn something about type in general. The type designers get some well-deserved compliments from their peers. And everyone who likes type gets reminded of the amazing design talent that type attracts, and the wonderful ideas and craft that go into these projects. It reminds us how far we’ve come. It inspires us to do better. What a pleasure to be involved.

Judging from some snarky tweets – and to my astonishment – the list is not without controversy. That’s why I recommend you also read the comments on the main page, particularly Matthew’s level-headed and insightful commentary. For me Typographica’s Favourite Fonts has consistently been a highlight every time it was published, the odd one out amongst the Best Of-lists and awards. If anyone misunderstands its raison d’être and mistakes it for something it isn’t, well, that’s their loss. But why not make up your own mind? Free up some time and dive in. Whether you do it in bite-sized chunks or spend a lazy morning or afternoon, you will marvel, discover, learn, appreciate. A heartfelt thank you to Stephen Coles for inviting me to contribute and for putting in all that work.


The FontShop FontFeed

FontFont 2012 – (Not Quite An) Annual Report

One year after their FontFont 2011 – (Not Quite An) Annual Report, FontFont – one of the leading independent font foundries with the largest library of original, contemporary typefaces – did it again with the recently published 2012 edition. This time the report has taken the form of an interactive publication on their website. The FontFeed talked to Lucy Philips, Marketing Manager at FontShop International.

Lucy Philips | “We produced our first (Not quite an) Annual Report for 2011 and thoroughly enjoyed working on the project with Britta Siegmund. The whole idea was to create something to capture the year gone by, to give something to our customers, friends and designers that they could savour and come back to, a long read that would tell our story.”


Lars Krüger in his natural environment.

Why the “Not Quite An” in the title?

Lucy Philips | “With both this year’s and last year’s reports, we wanted to create something a little bit different to the dry and staid formats of standard Annual Reports, where it is all about numbers, statistics and targets. We were keen to go behind the scenes, give our FontFonts the centre stage and also create an enjoyable visual narrative. Admittedly it is a somewhat daunting task trying to capture and cram everything we have made over a year into one coherent work, but it serves as a great exercise for us to try and remember everything we did. With each new release that we have published over the past few years, there have not only been brand new fonts but also a whole raft of new updates, extensions and additions of formats to many of our FontFont families so the Annual Report also serves as a recap of those releases and a chance for all our new or newish/updated FontFonts to shine. To be honest, it’s also a great excuse to get to play with our FontFonts again too!”


Jens helping out with WebFontFonts.

How did you approach the project this year?

Lucy Philips | “We loved the 2011 report and were really pleased with the results, but this year we wanted do something more interactive and easy to access. The team that worked on this year’s edition consisted of Alex Roth, designer magic maker extraordinaire for FontFont and Lars Krüger, Ghostarmy, with help from Clemens, Jörg, Jens, Ivo, myself, Ugla, Veronica and Petra from FontFont. We started out looking at the sections we wanted to include, listing out our news, awards, releases and collecting together some behind the scenes pictures. Alex, Ivo and I then got together to discuss ideas about the form that it could take. For us, the key thing was to make it part of our website, that was easy to access and could be shared easily. Alex and Lars spent a great deal of time working out different iterations and scenarios and creating a visual taxonomy that wove together the images, typefaces and story of our year into one coherent thread. The iterations were many and in fact we actually went back to the drawing board and Alex and Lars completely redid the whole concept in the final two weeks before the launch. There’s a photo story on our Behance profile of the ‘Making of’.”


Alex Roth tweaking the design.

How did the development and production go?

Lucy Philips | “If we’re completely honest, there was lots of blood, bugs, sweat and tears. Alex and Lars spent many a late night grappling with the overall design, and Clemens and Jörg also helped us massively with cracking the code for the responsive design and hunting down pesky bugs, so that it would work on mobile platforms. As I said, we changed our idea towards the very end and the finished piece is actually somewhat different to the final draft. It really makes us appreciate the work of designers and our customers, and the challenges one can be faced with when designing something responsive. Even though there were times when we were tearing our hair out, we learnt loads and are absolutely delighted with the results!”


The FontShop FontFeed

FontFont 2012 – (Not Quite An) Annual Report

One year after their FontFont 2011 – (Not Quite An) Annual Report, FontFont – one of the leading independent font foundries with the largest library of original, contemporary typefaces – did it again with the recently published 2012 edition. This time the report has taken the form of an interactive publication on their website. The FontFeed talked to Lucy Philips, Marketing Manager at FontShop International.

Lucy Philips | “We produced our first (Not quite an) Annual Report for 2011 and thoroughly enjoyed working on the project with Britta Siegmund. The whole idea was to create something to capture the year gone by, to give something to our customers, friends and designers that they could savour and come back to, a long read that would tell our story.”


Lars Krüger in his natural environment.

Why the “Not Quite An” in the title?

Lucy Philips | “With both this year’s and last year’s reports, we wanted to create something a little bit different to the dry and staid formats of standard Annual Reports, where it is all about numbers, statistics and targets. We were keen to go behind the scenes, give our FontFonts the centre stage and also create an enjoyable visual narrative. Admittedly it is a somewhat daunting task trying to capture and cram everything we have made over a year into one coherent work, but it serves as a great exercise for us to try and remember everything we did. With each new release that we have published over the past few years, there have not only been brand new fonts but also a whole raft of new updates, extensions and additions of formats to many of our FontFont families so the Annual Report also serves as a recap of those releases and a chance for all our new or newish/updated FontFonts to shine. To be honest, it’s also a great excuse to get to play with our FontFonts again too!”


Jens helping out with WebFontFonts.

How did you approach the project this year?

Lucy Philips | “We loved the 2011 report and were really pleased with the results, but this year we wanted do something more interactive and easy to access. The team that worked on this year’s edition consisted of Alex Roth, designer magic maker extraordinaire for FontFont and Lars Krüger, Ghostarmy, with help from Clemens, Jörg, Jens, Ivo, myself, Ugla, Veronica and Petra from FontFont. We started out looking at the sections we wanted to include, listing out our news, awards, releases and collecting together some behind the scenes pictures. Alex, Ivo and I then got together to discuss ideas about the form that it could take. For us, the key thing was to make it part of our website, that was easy to access and could be shared easily. Alex and Lars spent a great deal of time working out different iterations and scenarios and creating a visual taxonomy that wove together the images, typefaces and story of our year into one coherent thread. The iterations were many and in fact we actually went back to the drawing board and Alex and Lars completely redid the whole concept in the final two weeks before the launch. There’s a photo story on our Behance profile of the ‘Making of’.”


Alex Roth tweaking the design.

How did the development and production go?

Lucy Philips | “If we’re completely honest, there was lots of blood, bugs, sweat and tears. Alex and Lars spent many a late night grappling with the overall design, and Clemens and Jörg also helped us massively with cracking the code for the responsive design and hunting down pesky bugs, so that it would work on mobile platforms. As I said, we changed our idea towards the very end and the finished piece is actually somewhat different to the final draft. It really makes us appreciate the work of designers and our customers, and the challenges one can be faced with when designing something responsive. Even though there were times when we were tearing our hair out, we learnt loads and are absolutely delighted with the results!”


The FontShop FontFeed

Dropbox users claim email addresses leaked to spammers, company blames 2012 security breach

dropbox for android

Dropbox users are reporting spam coming to unique email addresses used for the cloud storage service. In a forum thread from yesterday, a user complained that a Dropbox-specific address had been receiving spam since February 20th, suggesting that the address had been exposed. After a moderator dismissed the claim by saying that spammers might have guessed the address randomly, several other people raised the same issue, most with addresses that were used only for Dropbox. They generally reported spam starting around the 19th or 20th.

About an hour ago, after the issue gained traction on Hacker News, a Dropbox employee posted a response:

We’ve been looking into these spam reports and take them seriously. Back in July we reported…

Continue reading…

The Verge – All Posts

lg2boutique: La Vittoria 2012 Identity and Collateral

lg2_LaVittoria_01

lg2boutique recently completed this gorgeous work for La Vittoria, a charitable event held in Montreal:

Montreal’s luxurious Ritz Carleton Hotel played host to La Vittoria 2012 where, for the fourth straight year, the branding was entrusted to lg2boutique. La Vittoria, which raises funds for a different charity each year, benefited the Jewish General Hospital Foundation’s support of Alzheimer’s research, for 2012.

The branding was inspired by the location and the theme of remembering, a reference to the cause for which donations were solicited. All of the rooms were imbued with the duality between 2012 and the time of Louis XVI. The staging of French traditions was interpreted using spiral scrolls and minimalist geometry; gilding and fluorescent colouring. Taking architectural elements as well as photographs of the renowned Chefs as references to statues from a bygone era served as highlights of the visual touches of this unique evening.

lg2boutique created the graphic platform including the invitation, the waiter’s aprons and the souvenir program to mark the prestigious dinner gala.

lg2_LaVittoria_02

lg2_LaVittoria_03

lg2_LaVittoria_10

lg2_LaVittoria_11

lg2_LaVittoria_04

lg2_LaVittoria_09

lg2_LaVittoria_12

lg2_LaVittoria_05

lg2_LaVittoria_06

lg2_LaVittoria_07

lg2_LaVittoria_08

Creative Credits:
Client: La Vittoria, Johanne Demers
Vice President, Creative Director: Claude Auchu
Creative Director: Serge Côté
Designers: Cindy Goulet, Marie-Pier Gilbert
Copywriter: Pierre Lussier
Account Services: Catherine Lanctôt, Florence Morin-Laurin
Photographer: Luc Robitaille
Print Production: lg2fabrique


Design Work Life