NASA Creates Movie Parody Posters for Its Expedition Flights: Download Parodies of Metropolis, The Matrix, The Hitchhiker’s Guide to the Galaxy and More

in Design, Sci Fi, Science | December 27th, 2018

For just over eighteen years now, NASA has been conducting expeditions to the International Space Station. Each of these missions has not just a name, or at least a number (last week saw the launch of Expedition 58), but an official poster with a group photo of the crew. “These posters were used to advertise expeditions and were also hung in NASA facilities and other government organizations,” says Bored Panda. “However, when astronauts got bored of the standard group photos they decided to spice things up a bit.”

And “what’s a better way to do that other than throwing in some pop culture references?” As anyone who has ever worked with scientists knows, a fair few of them have somehow made themselves into living compendia of knowledge of not just their field but their favorite books, movies, and television shows — not always, but very often, books, movies, and television shows science-fictional in nature.

The prime example, it hardly bears mentioning, would be Star Trek, but the well of fandom at NASA runs much deeper than that.

You’ll get a sense of how far that well goes if you have a look through the Expedition poster archive at NASA’s web site. There you’ll find not just pop culture references but elaborately designed tributes — downloadable in high resolution — to the likes of not just Star Trek but Star Wars, The Matrix, The Hitchhiker’s Guide to the Galaxy (the sole possible theme, Douglas Adams fans will agree, for Expedition 42), and even Fritz Lang’s Metropolis, which first gave dystopian sci-fi its visual form in 1927 (and which you can watch here). Albums are also fair game, as evidenced by the Abbey Road poster for Expedition 26.

Bored Panda calls these posters “hilariously awkward,” but opinions do vary: “I love them,” writes Boing Boing’s Rusty Blazenhoff. “I think they’re fun and creative.” And whatever you think of the concepts, can you fail to be impressed by the sheer attention to detail that has clearly gone into replicating the source images? It’s all more or less in line with the formidable graphic design skill at NASA, previously featured here on Open Culture, that has gone into its posters celebrating space travel and the 40th anniversary of the Voyager missions.

Going through the Expedition poster archive, I notice that none seems yet to have paid tribute to Andrei Tarkovsky’s Solaris, surely one of the most powerful pieces of outer space-related cinema ever made. Granted, that film has much less to do with teamwork and camaraderie than the intense psychological isolation of the individual, which would make it tricky indeed to recreate any of its memorable images as proud group photos. But if NASA’s poster designers can’t take on that mission, nobody can.

via Boing Boing

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 2 ) |

Buckminster Fuller Documented His Life Every 15 Minutes, from 1920 Until 1983

in Architecture, Design, History | December 26th, 2018

If you’ve heard of Buckminster Fuller, you’ve almost certainly heard the word “Dymaxion.” Despite its strong pre-Space Age redolence, the term has somehow remained compelling into the 21st century. But what does it mean? When Fuller, a self-described “comprehensive, anticipatory design scientist,” first invented a house meant practically to reinvent domestic living, Chicago’s Marshall Field and Company department store put a model on display. The company “wanted a catchy label, so it hired a consultant, who fashioned ‘dymaxion’ out of bits of ‘dynamic,’ ‘maximum,’ and ‘ion,’ ” writes The New Yorker’s Elizabeth Kolbert in a piece on Fuller’s legacy. “Fuller was so taken with the word, which had no known meaning, that he adopted it as a sort of brand name.” After the Dymaxion House came the Dymaxion Vehicle, the Dymaxion Map, and even the two-hour-a-day Dymaxion Sleep Plan.

“As a child, Fuller had assembled scrapbooks of letters and newspaper articles on subjects that interested him,” Kolbert writes. “When, later, he decided to keep a more systematic record of his life, including everything from his correspondence to his dry-cleaning bills, it became the Dymaxion Chronofile.” The Dymaxion Chronofile now resides in the R. Buckminster Fuller Collection at Stanford University, a place that has merited the attention of no less a guide to the fascinating corners of the world than Atlas Obscura.

“The files go back to when he was four-years-old, but he only seriously started the archive in 1917,” writes that site’s Allison C. Meier. “From then until his death in 1983 he collected everything from each day, with ingoing and outgoing correspondence, newspaper clippings, drawings, blueprints, models, and even the mundane ephemera like dry cleaning bills.” Fuller added to the Dymaxion Chronofile not just every day but, from the year 1920 until his death in 1983, every fifteen minutes.

In 1962 Fuller described the Dymaxion Chronofile as what would happen “if somebody kept a very accurate record of a human being, going through the era from the Gay ’90s, from a very different kind of world through the turn of the century — as far into the twentieth century as you might live.” Using himself as the case subject for the project (as he did for many projects, which led him to nickname himself “Guinea Pig B”) meant that “I could not be judge of what was valid to put in or not. I must put everything in, so I started a very rigorous record.” Open Culture’s own Ted Mills has written elsewhere about the rigors of storing and maintaining that record in archive form over the decades since Fuller’s death, and now, as with so much Fuller did, the Dymaxion Chronofile stands as both a compelling oddity and proof of real, if askew, prescience. After all, how many of us have taken to documenting our own lives online with nearly equal intensity — and how many of us do it even more often than every fifteen minutes?

Buckminster Fuller’s Map of the World: The Innovation that Revolutionized Map Design (1943)

Watch the Making of the Dymaxion Globe: A 3‑D Rendering of Buckminster Fuller’s Revolutionary Map

A Harrowing Test Drive of Buckminster Fuller’s 1933 Dymaxion Car: Art That Is Scary to Ride

Better Living Through Buckminster Fuller’s Utopian Designs: Revisit the Dymaxion Car, House, and Map

Everything I Know: 42 Hours of Buckminster Fuller’s Visionary Lectures Free Online (1975)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 2 ) |

Discover Isotype, the 1920s Attempt to Create a Universal Language with Stylish Icons & Graphic Design

in Design, History | December 21st, 2018

How long has mankind dreamed of an international language? The first answer that comes to mind, of course, dates that dream to the time of the Biblical story of the Tower of Babel. If you don’t happen to believe that humanity was made to speak a variety of mutually incomprehensible tongues as punishment for daring to build a tower tall enough to reach heaven, maybe you’d prefer a date somewhere around the much later development of Esperanto, the best-known language invented specifically to attain universality, in the late 19th century. But look ahead a few decades past that and you find an intriguing example of a language created to unite the world without using words at all: International System Of Typographic Picture Education, or Isotype.

“Nearly a century before infographics and data visualization became the cultural ubiquity they are today,” writes Brain Pickings’ Maria Popova, “the pioneering Austrian sociologist, philosopher of science, social reformer, and curator Otto Neurath (December 10, 1882–December 22, 1945), together with his not-yet-wife Marie, invented ISOTYPE — the visionary pictogram language that furnished the vocabulary of modern infographics.”

First known as the Vienna Method of Pictorial Statistics, Isotype’s initial development began in 1926 at Vienna’s Gesellschafts- und Wirtschaftsmuseum (or Social and Economic Museum), of which Neurath was the founding director. There he began to assemble something like a design studio team, with the mission of creating a set of pictorial symbols that could render dense social, scientific technological, biological, and historical information legible at a glance.

Neurath’s most important early collaborator on Isotype was surely the woodcut artist Gerd Arntz, at whose site you can see the more than 4000 pictograms he created to symbolize “key data from industry, demographics, politics and economy.” Arntz designed them all in accordance with Neurat’s belief that even then the long “virtually illiterate” proletariat “needed knowledge of the world around them. This knowledge should not be shrined in opaque scientific language, but directly illustrated in straightforward images and a clear structure, also for people who could not, or hardly, read. Another outspoken goal of this method of visual statistics was to overcome barriers of language and culture, and to be universally understood.”

By the mid-1930s, writes The Atlantic’s Steven Heller in an article on the book Isotype: Design and Contexts 1925–1971, “with the Nazi march into Austria, Neurath fled Vienna for Holland. He met his future wife Marie Reidemeister there and after the German bombing of Rotterdam the pair escaped to England, where they were interned on the Isle of Man. Following their release they established the Isotype Institute in Oxford. From this base they continued to develop their unique strategy, which influenced designers worldwide.” Today, even those who have never laid eyes on Isotype itself have extensively “read” the visual languages it has influenced: Gizmodo’s Alissa Walker points to the standardized icons created in the 70s by the U.S. Department of Transportation and the American Institute of Graphic Arts as well as today’s emoji — probably not exactly what Neurath had in mind as the language of Utopia back when he was co-founding the Vienna Circle, but nevertheless a distant cousin of Isotype in “its own adorable way.”

via Brain Pickings

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

The Impossibly Cool Album Covers of Blue Note Records: Meet the Creative Team Behind These Iconic Designs

in Art, Design, Jazz, Music, Photography | November 22nd, 2018

If you stepped into a record store in the 1950s and 60s, you would likely be drawn almost immediately to a Blue Note release—whether or not you were a fan of jazz or had heard of the artist or even the label. “If you went to those record stores,” says Estelle Caswell in the Vox Earworm video above, “it probably wasn’t the sound of Blue Note that immediately caught your attention. It was their album covers.”

Now those designs are hallowed jazz iconography, with their “bold typography, two tone photography, and minimal graphic design.” Of course, it should go without saying that the sound of Blue Note is as distinctive and essential as its look, thanks to its founders’ musical vision, the faultless ear of producer and engineer Rudy Van Gelder, and the roster of unbelievably great musicians the label recruited and recorded.

But back to those covers….

“Their bold use of color, intimate photography, and meticulously placed typography came to define the look of jazz” in the hard bop era, and thus, defined the look of cool, a “refined sophistication” vibrating with restless, sultry, smoky, classy, moody energy. The rat pack had nothing on Blue Note. Their covers “have today become an epitome of graphic hip,” writes Robin Kinross at Eye magazine. (And lest we fetishize the covers at the expense of their contents, Kinross makes sure to add that they “are no more than the visible manifestation of an organic whole.”)

Flip over any one of those beautifully-designed Blue Note records from, say, 1955 to 65, the label’s peak years, and you’ll find two names credited for almost all of their designs: photographer Francis Wolff and graphic designer Reid Miles. Wolff, says producer and Blue Note archivist Michael Cuscuna in the Earworm video, shot almost every Blue Note session from “the minute he arrived.”

“One of the most impressive, and shocking things” about Wolff’s photo shoots, “was that the average success rate of those photos was really extraordinary. He was like the jazz artist of photography in that he could nail it immediately.” Once Wolff filled a contact sheet with great shots, it next came to Miles to select the perfect one—and the perfect crop—for the album cover. These saturated portraits turned Blue Note artists into immortal heroes of hip.

But Reid’s experiments with typography, “inspired by the ever present Swiss lettering style that defined 20th century graphic design,” notes Vox, provided such an important element that the lettering sometimes edged out the photography, such as in the cover of Joe Henderson’s In ‘n Out, which features only a tiny portrait of the artist in the upper left-hand corner, nestled in the dot of a lower-case “i.”

Miles pushed the exclamation point to absurd lengths on Jackie McLean’s It’s Time, which again relegates the artist’s photo to a tiny square in the corner while the rest of the cover is taken up with bold, black “!!!!!!!!!!!”s over a white background. It’s “startlingly getting your attention,” Cuscuna comments. On Lou Donaldson’s Sunny Side Up, Miles dispenses with photography altogether, for a striking black and white design that makes the title seem like it might up and float away.

But Miles’ type-centric covers, though excellent, are not what we usually associate with the classic Blue Note look. The synthesis of Wolff’s impeccable photographic instincts and Miles’ surgically keen eye for framing, color, and composition combined to give us the pensive, mysterious Coltrane on Blue Train, the impossibly cool Sonny Rollins on the cover of Newk’s Time, the totally, wildly in-the-moment Art Blakey on The Big Beat, and so, so many more.

Reid Miles had the rare talent only the best art directors possess, says Cuscuna: the ability to “create a look for a record that was highly individual but also that fit into a stream that gave the label a look.” Learn more about his work with Wolff in Robin Kinross’s essay, see many more classic Blue Note album covers here, and make sure to listen to the music behind all that brilliant graphic design in this huge, streaming discography of Blue Note recordings. To view them in print format, see the definitive book, The Cover Art of Blue Note Records: The Collection.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 2 ) |

Hundreds of Wonderful Japanese Firework Designs from the Early-1900s: Digitized and Free to Download

in Books, Design | November 12th, 2018

The Japanese term for fireworks, hanabi (花火), combines the words for fire, bi (火), and flower, hana (火). If you’ve seen fireworks anywhere, that derivation may seem at least vaguely apt, but if you’ve seen Japanese fireworks, it may well strike you as evocative indeed. The traditional Japanese way with presenting flowers, their shapes and colors as well as their scents, has something in common with the traditional Japanese way of putting on a fireworks show.

Not that the production of firecrackers goes as far back, historically, as the arrangement of flowers does, nor that firecrackers themselves, originally a product of China, have anything essentially Japanese about them.

But as more recently with cars, comic books, consumer electronics, and Kit-Kats, whenever Japan re-interprets a foreign invention, the project amounts to radical re-invention, and often a dazzling one at that.

These Japanese versions of non-Japanese things often become highly desirable around the world in their own right. It certainly happened with Japanese fireworks, here proudly displayed in these elegant and vividly colored English catalogs of Hirayama Fireworks and Yokoi Fireworks, published in the early 1900s by C.R. Brock and Company, whose founding date of 1698 makes it the oldest firework concern in the United Kingdom.

These Brocks catalogs been digitized by the Yokohama Board of Education and made available online at the Internet Archive. Though I’ve never seen a fireworks show in Yokohama, that city, dotted as it is with impeccably designed public gardens, certainly has its flower-appreciation credentials in order.

Organized into such categories as “Vertical Wheels,” “Phantom Circles,” and “Colored Floral Bomb Shells,” the catalogs present their imported Japanese wares simply, as various patterns of color against a black or blue background. But simplicity, as even those only distantly acquainted with Japanese art have seen, supports a few particularly strong and enduring branches of Japanese aesthetics.

No matter where you take in your displays of fireworks, you’ll surely recognize more than a few of these designs from having seen them light up the night sky. And as far as where to look for the next firework innovator, I might suggest South Korea, where I live: at this past summer’s Seoul International Fireworks festival I witnessed fireworks exploding into the shape of cat faces, whiskers and all. Such elaborateness many violate the more rigorous versions of the Japanese sensibility as they apply to hanabi — but then again, just imagine what wonders Japan, one of the most cat-loving countries in the world, could do with that concept.

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A Firework’s Point of View

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( 4 ) |

A Database of Paper Airplane Designs: Hours of Fun for Kids & Adults Alike

in Design | November 8th, 2018

Though we can trace the history of paper aircraft back 2000 years to the Chinese and their kites, and into the 19th century with the French and their imaginary airships, the origin of the modern paper airplane is shrouded in mystery. A San Diego Reader article placed the birth somewhere in 1910. By 1915, most American kids were already tormenting teachers. And Jack Northrup used paper models to work on aerodynamics at Lockheed in the 1930s, but even that doesn’t do much to explain how such a ubiquitous object has continued to be so humble and ordinary while inspiring a recent upsurge of interest.

The database at Fold’n’Fly shows how much variety there is beyond the basic “dart” style, and each airplane comes with step-by-step folding instructions, a printable pattern page, and a helpful video.

You can choose by difficulty level, whether or not you will need scissors, or sort by distance, acrobatics, time aloft, or purely decorative.

One of the reasons for the renewed interest in paper airplanes is the use of CAD (computer aided design) in constructing prototypes, and that in itself is a response to the challenge set by various Guinness world records.

The current distance record is 226 feet, 10 inches, set in March 2012 by a former college quarterback Joe Ayoob. The plane was designed by television producer John Collins, who used Ayoob’s throwing arm strength to break the previous record holder by nearly 20 feet.

The longest time a paper airplane has been in the air is currently 27.6 seconds, set in 1998 by Ken Blackburn at the Georgia Dome. He was breaking his own record for the third time.

Lastly, the record for largest paper airplane is 40 ft 10 inches, designed by students from the Technology University of Delft in 1995.

So, now you know what you’re up against. If you think you can do better, dive into this website and get folding.

via Metafilter

NASA Puts 400+ Historic Experimental Flight Videos on YouTube

NASA Releases a Massive Online Archive: 140,000 Photos, Videos & Audio Files Free to Search and Download

Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.

by Ted Mills | Permalink | Make a Comment ( None ) |

157 Animated Minimalist Mid-Century Book Covers

in Animation, Books, Design | November 5th, 2018

Graphic and motion designer Henning M. Lederer can’t get enough of those minimalist midcentury book covers.

Apparently, the over-the-top pulp scenarios that inspire fellow period cover enthusiast Todd Alcott leave Lederer cold.

He’s drawn to the stark, the geometric, the abstract. No heaving bosoms, no forbidden love, though there’s no denying that sex was a topic of great clinical interest to several of the authors featured above, including psychiatrists Charles Rycroft, H. R. Beech, and R.D. Laing.

Visually, the psycho-analytic titles appear interchangeable with the more straightforward texts in this, Lederer’s third in a series of lightly animated period book covers:

The Intelligent Woman’s Guide to Atomic Radiation

Medical Complications During Pregnancy

Generalized Thermodynamics

Pinwheels, ripples, and scrolling harlequin patterns abound. Stare at them long enough if you want to cure your insomnia or become one with the universe.

Tilman Grundig’s soundtrack ensures that the playing field will stay level. No title is singled out for extra sonic attention.

That said, Noise by Rupert Taylor, an expert consultant in acoustics and noise control, stands apart for the humor and narrative sensibility of its visual representation.

Perhaps that’s why Lederer saved it for last.

To date, he’s animated 157 covers. Enjoy them all above.

The Art of Sci-Fi Book Covers: From the Fantastical 1920s to the Psychedelic 1960s & Beyond

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Join her in NYC on Monday, November 12 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

Buckminster Fuller Creates Striking Posters of His Own Inventions

in Architecture, Art, Design | October 12th, 2018

In addition to his formidable body of work in architecture, design, and theory of the kind the world had never known before, Buckminster Fuller also knew how to promote himself. Sometimes this meant appearing on late-night new-age talk shows, but at its core it meant coming up with ideas that would immediately “read” as revolutionary to anyone who saw them in action. But how to put them before the eyes of someone who hasn’t had the chance to see a geodesic dome, a Dymaxion House and Car, or even a Geodome 4 tent in real life?

The ascent of graphic design in the 20th century, a century Fuller saw begin and lived through most of, provided one promising answer: posters. The ones you see here show off “Fuller’s most famous inventions, with line drawings from his patents superimposed over a photograph of the thing itself,” writes Fast Company’s Katharine Schwab.

“While they look like something Fuller aficionados might have created after the man’s death to celebrate his work, Fuller actually created them in partnership with the gallerist Carl Solway near the end of his career.”

These posters, “striking with their two-layer design, are Fuller’s visual homage to his own genius — and an attempt to bring what he believed were world-changing utopian concepts to the masses.” They’re also now on display at the Edward Cella Art + Architecture in Los Angeles, whose exhibition “R. Buckminster Fuller: Inventions and Models” runs until November 2nd. “Fuller’s objects and prints function not only as models of the mathematical and geometric properties underlying their construction but also as elegant works of art,” says the gallery’s site. “As such, the works represent the hybridity of Fuller’s practice, and his legacy across the fields of art, design, science, and engineering.”

You can see more of Fuller’s posters, which depict and visually explain the structures of such inventions as the geodesic dome and Dymaxion Car, of course, but also lesser-known creations like a “Fly’s Eye” dome covered in bubble windows (individually swappable for solar panels), a submersible for offshore drilling, and a rowboat with a body reduced to two thin “needles,” at Designboom. Edward Cella Art + Architecture has also made the posters available for purchase at $7,000 apiece. That price might seem in contradiction with Fuller’s utopian ideals about universal accessibility through sheer low cost, but then, who could look at these and call them anything but works of art?

via Curbed

Buckminster Fuller’s Map of the World: The Innovation that Revolutionized Map Design (1943)

The Life & Times of Buckminster Fuller’s Geodesic Dome: A Documentary

Buckminster Fuller Creates an Animated Visualization of Human Population Growth from 1000 B.C.E. to 1965

Buckminster Fuller’s Collaboration with The North Face Culminates with a New Geodesic Dome Tent, the Geodome 4

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

NASA Creates Movie Parody Posters for Its Expedition Flights: Download Parodies of Metropolis, The Matrix, The Hitchhiker’s Guide to the Galaxy and More

Buckminster Fuller Documented His Life Every 15 Minutes, from 1920 Until 1983

Discover Isotype, the 1920s Attempt to Create a Universal Language with Stylish Icons & Graphic Design

The Impossibly Cool Album Covers of Blue Note Records: Meet the Creative Team Behind These Iconic Designs

Hundreds of Wonderful Japanese Firework Designs from the Early-1900s: Digitized and Free to Download

A Database of Paper Airplane Designs: Hours of Fun for Kids & Adults Alike

157 Animated Minimalist Mid-Century Book Covers

Buckminster Fuller Creates Striking Posters of His Own Inventions

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