Archive for the ‘ Design ’ Category
This page is from the December issue of Time magazine, which is traditionally the issue dedicated to the achievements of an individual.
This year no one person was named, instead the award was given to the “protester.” Read the rationale of that decision by enlarging the image below. The raised fist, the symbol for solidarity, is the perfect graphic form to represent the unity of human spirit, so evident in 2011.
This, bold contrasty design sets the tone of the article, that Bank of America, with $2.3 trillion in assets is big: in the eyes of the government, too big to fail.
However the sharp upturn in the share price following Buffet’s investment took an equally sharp downturn the next day—graphically illustrated on the right side of the chart on the second spread.
The article in Bloomberg Business Week concludes:
Barnes ticks off the latest statistics from Lender Processing Services, a major home loan servicer: 4.1 million loans nationwide are 90 days or more days delinquent or in foreclosure; delinquency rates are twice their historical average; more than 40 percent of 90-days-plus delinquent loans have not made a payment in more than a year.
BofA is more exposed to those scary figures than any other bank. Moynihan “has got to know there are more losses ahead, enough to kill a bank,” says Barnes. “No model exists for what happens next.”
This is a pretty remarkable paper sculpture that also happens to have made the cover of the German design magazine Form. The feature article—about information graphics—and the cover artwork, have very little to do with each other visually, but the arresting design of the sculpture is a really beautiful piece of design, not truly typography, but certainly lovely to look at.
This exercise in typographic distortion relies heavily on software manipulation. That said, the results are fascinating.
According to the magazine Digital Arts, the creators of the type, Hussain and Ali Amossawi, brothers based in Bahrein, were curious about how letterforms and liquids could be combined.
The letters were built in Autodesk 3Ds Max by extruding them from two-dimensional type to a depth sufficient for liquids to flow through them in a visually pleasing way.
These shapes were then passed to RealFlow fluid simulation software, which plugs into Autodesk’s 3D suite. A particle emitter was used to fill them with “paint” as if poured from a faucet.
Once each letter was filled, the liquid was released from the constraints of the letter shape, letting it explode.
You can see animations of the complete process at the skyrill website.