andrew_dranfield: October 2009

Saturday, 24 October 2009

Indian Superman

This is the craziest thing I have ever seen in my whole life.
I guess you would call it a pastiche.
I call it hilarious.

Sunday, 18 October 2009

Something my friend noticed on a can of Tango

It quite clearly says TWAT!

I don't think they have done this on purpose, but there again its in my blog and people may be talking about it so maybe they have? Who knows?

Friday, 9 October 2009

Stop motion animation with glow sticks

This is so good!
Its one of them 'I wish I did this' kind of things.

'Lucky' is the collaboration between Melbourne based 'All India Radio' and animation company 'Dee Pee Studios'

It involves a painstaking animation technique, whereby the team paints in the air with glow sticks, frame after to frame to create entire sequences of animation, sometimes taking a whole night to shoot.

For more info, please check out:www.deepeestudios.com and www.allindiaradio.com.au

Tungsten from 'Hoefler and Frere-Jones'

This is the new font from 'Hoefler and Frere-Jones', its really sexy and I want it so bad, I was even considering paying for it with actual money, but I was put off by the expense. It cost at least as much as 50 happy-meals and thats a lot of happiness :(
Heres what they say about it:

Smart, tough, and sexy. Hello Tungsten.

That rarest of species, Tungsten is a compact and sporty sans serif that’s disarming instead of pushy — not just loud, but persuasive.

Flat-sided sans serifs have been a vital part of graphic design since its very beginning. Like many of typography’s loveliest styles, these letters are an import from sign painting, where the style — doubtless because its kit of lines and curves resembles plumbing — is colorfully known as "Modern Gaspipe." These modular letters were an important part of the twentieth century poster, bright and optimistic in the propaganda of the Works Projects Administration (WPA), and peremptory in the Constructivism of the young USSR. In the service of any agenda, what these letters always signified was modernity, industry, and zeal.

Typographers have explored this compact modular style with mixed results. Typefaces that stay true to Depression-era forms run the risk of becoming nostalgic, forever evoking the sentimental Americana of tuxedo jackets and automats. Other designs, if they stick more doggedly to the underlying principles of rule and compass, often reveal how monotonous a typeface can become when restricted to too meager a kit of parts. Many such designs quit the fight when the going gets rough, abandoning their own internal rules when unruly letters like S or Y won’t conform to the grid — a frailty that’s especially unwelcome in this kind of typeface, whose square-jawed ruggedness would otherwise recommend it for action movies and airport paperbacks.

A few years ago, we started wondering if there was a way to make a typeface in this genre that was disarming instead of brutish, one that employed confidence and subtlety instead of just raw testosterone. It was an unusual design brief for ourselves, completely without visual cues and trading in cultural associations instead: “more Steve McQueen than Steven Seagal,” reads one note; “whiskey highball, not a martini” suggests another. We decided to reduce the letterforms not to circles and squares, but to a manageable set of stated interrelationships — between inside and outside, uppercase and lowercase, and one letter and the next — that could be applied with equal consistency throughout the design. The result is Tungsten, a tight family of high-impact fonts that doesn’t sacrifice wit, versatility, or style.