Friday, 7 March, 2014
If you’re a movie-goer then you’ll have likely seen billing blocks countless times, you just may not know them by that name. A billing block, usually seen at the foot of a movie poster, is almost like the film’s small print, listing the names of those who a major part in its production.
Above is the billing block from one of the movie posters for Thor.
design, movie posters, movies
Thursday, 6 March, 2014
Remember the Higgs boson – “God” – particle? Its existence, or otherwise, was meant to have far reaching ramifications. For everything, I think. For whatever reason though, we’ve not been hearing all that much about the esteemed particle of late. Surely the mysteries of the universe were not solved instantly, the minute it came to light?
Probably not, but the details, the nitty-gritty, of the Higgs boson likely don’t make for interesting headlines, explaining the relative silence on the topic in the wake of its unearthing. If the Higgs remains something of an enigma to you, even after all this time though, this cartoon by Jorge Cham, re-explaining it, may then be useful.
comics, illustration, physics, science
Friday, 28 February, 2014
Artists could make their works a little more collectible by behaving more eccentrically. This because – like it, or lump it – that is the stereotype many would-be patrons believe artists conform to.
In the same way that research has shown that people rate rap songs as better if they believe the rapper is black rather than white, they speculated that individuals will appraise art more positively if they believe the artist to be eccentric. In other, more ironic words, people think better of artists that conform to the stereotype of artists as unconventional.
We really need to be discouraging stereotypical thinking, but I guess if it helps an artist’s bottom line it may be worthwhile.
art, personality, psychology
Wednesday, 26 February, 2014
Slovakian art director Dusan Cezek has rendered scenes from cult movies such as “Fight Club”, “Pulp Fiction”, and “Shaun of the Dead”, as eight-bit GIF animations. Why? I don’t know, but why should that matter?
animations, film, movies
Tuesday, 25 February, 2014
London based art director Mehmet Gozetlik takes well known package design and strips it back to the most basic elements. I’m liking the results. Take the design of a can of Guinness stout, above, I thought the third version was about right, but the more I look at the fourth design, the more I like.
branding, illustration, marketing
Monday, 24 February, 2014
Selected tweets from across the Twittersphere are being illustrated by @drawnyourtweet. Whether any given tweet will be sketched out though remains at the artist’s discretion.
Via The Daily Dot.
illustration, social media, twitter
Wednesday, 19 February, 2014
If “Star Wars” had been set in a high school, during the 1980s, it may have looked something like this collection of images by Italian comic artist, and illustrator, Denis Medri.
humour, illustration, Star-Wars
Tuesday, 18 February, 2014
Here’s a good question to ask of yourself if preparing visualisations, presentations, and even infographics, to assist in articulating the point you’re trying to make… what is the weight of rain?
But I might point out something like this, a small change that jumped out at me. This image is from late November, during Thanksgiving week. And this is the same image, 24 hours later. I’ll show that again. Notice how every living thing – every green thing – is pressed down a few inches? That’s the weight of rain.
communication, design, visualisations
Thursday, 13 February, 2014
At the beginning of the seventeenth century, Italian scientist and astronomer Galileo Galilei, using one of the earliest telescopes, became the first person to draw up images of the Moon with any sort of detail. That actually seems mildly surprising because quite good renderings could still be made of Earth’s satellite without the aid of a telescope.
astronomy, Galileo Galilei, history, illustration, Moon
Tuesday, 11 February, 2014
Dave Addey scrutinises the use of typography in 2001: A Space Odyssey, and turns up a whole stack of details I hadn’t really given much thought to previously, including the way Stanley Kubrick set out the film’s title card:
[The] title card is set in Gill Sans, one of the all-time classic sans-serif fonts. Perhaps surprisingly, the zeroes in “2001” appear to be set with the Gill Sans capital letter O, rather than its zero character.
By the looks of it, this is the first in series of articles that Addey will be writing on the use of typography in science fiction movies.
2001: A Space Odyssey, design, film, fonts, Stanley Kubrick, typography