Ladies and gentlemen of the internet, the wait is over. We’ve finally had time to complete a new personal project and it’s with great pleasure we introduce to the world, Mandy. Please join her on this heartwarming journey through negative space. Featuring the narrative talent of Jamie O’Neill.
We recently took a trip over to the National Institute of Clean-And-Low-Carbon Energy for two days of video production. NICE commissioned us to help tell the world its story and after interviewing Nobel Laureate Dr. Carlo Rubbia, along with some of the world’s leaders in the field of clean energy, we think that story is long overdue.
On the outskirts of Beijing, Chinese energy leader Shenhua Group has built a Future Science and Technology City, where top scientists from around the world are coming together to develop clean energy solutions and patent new technology. After getting a look at their facilities and the sheer size of their investment, we can’t help but wonder what amazing innovations NICE has in store for us. Watch this space!
Awesome Japanese mecha warriors might just kill us all and soon, thanks to our friends over at Suidobashi Heavy Industry. They have developed a massive human operated robot called KURATAS, capable of firing twin six-barrelled gatling guns at 6,000 rounds per minute. While it currently rolls around at a snail-paced 10km/h and only fires BB pellets, we’re curious to see what the next generation brings, and which super hero is going to stop it. Own yours today for today for only USD $1 million.
Hong Kong Designers Association has awarded 39°N with a Bronze medal in Motion Graphics, for our Christmas animation, Nicholas Was. We’d like to thank the HKDA, our parents, the flying spaghetti monster and of course Neil Gaiman, whose writing inspired our mixed media madness in the first place. I don’t want to jinx us, but I have a feeling there are more awards to come. Watch this space…
This week we’re going to share a list of design principles we hold dearly, courtesy of the guru of good aesthetics, Dieter Rams.
Good design is innovative.
Good design makes a product useful.
Good design is aesthetic.
Good design makes a product understandable.
Good design is unobtrusive.
Good design is honest.
Good design is long-lasting.
Good design is thorough down to the last detail.
Good design is environmentally friendly.
Good design is as little design as possible.
Banned by Nazis, viewed by millions and forged by masters. Discover the history of your favourite fonts. London-based branding company Johnson Banks has created an impressive 3D tribute to type; delving into the rich tapestry of typography and showcasing a stunning 3D alphabet.
Visit: The Arkitypo Project
After our original post about the lack of excitement surrounding the visual identity of a World Cup™, it seems the latest offering that supports England’s 2018/2022 Bid is guilty of another typographic howler. Maybe spending all that time creating the 1,752 page bid book left little time for The FA to look into the Bid’s logo! To add more credence to the argument that (generally) World Cup’s™ logos are less than beautiful, Michael Johnson has added some lovely insight on the excellent Johnson Banks Blog.
We stumbled across an extensive multi-cultural (HA HA) line of yogurts in our local supermarket. They have a wide variety of races flavours to choose from but there was too much pressure for me. I could feel the watchful eyes of the shoppers waiting to judge my racist tastes in dairy. We now have enough yogurt in the fridge to last a week…
There was something special about Mexico 1970. Maybe because it was the first World Cup™ in colour, or perhaps because Pele was at his creative best, or simply because it was heralded as one of the best World Cups™ of all time. Not least, because the English team were labelled a bunch of “drunks and thieves” by the Mexcian Press! Oh, and that save. Good Lord… that save!
We’d like to imagine too, that it had something to do with the visual identity that surrounded it. It had the best kit designs, the best squad numbering style, the best looking ball and it still had the Jules Rimet Trophy (the real World Cup trophy, ahem). Although the identity itself looked a little clumsy, it was certainly of its time, Mexico 70 did seem to be one better looking and memorable World Cups™.
Although a lot is made of the branding of the Olympic Games – from the genius of Aicher’s Munich 1972, to Wolff Olins‘ contoversial 2012 work for London, we seldom see such scrutinised design critiques surrounding the World Cups™ and, up to now (SA included), there hasn’t been much in the way of design to get excited about! We did see some hype that preceded the cringe-able unveiling of the UEFA EURO 2012 identity, coupled with a nice motion graphics piece… but flowers and football? We’re not sure about that… Roll on June!
We’ve been experimenting with some interesting logo animations within Cinema 4D. Here are a few detail grabs so far… (click on a thumb to see the bigger picture). We’re still figuring out the final animation due to the meticulous attention to detail! We’ll post the final version when it’s done.