Advertise here via BSA

Since Microsoft first unveiled the Metro UI on Windows Phone 7, the rollout has been gradually taking place across every Microsoft product and website. It is the cornerstone of the Windows 8 interface and one of the most notable official uses of Metro UI available now is the excellent implementation on the Xbox 360 dashboard. The new design language has been a refreshing sign that Redmond cares about fixing its messy, bloated and ageing image, and the company is following through and executing.

In the process, Metro has picked up a lot of fans in the design community. As Microsoft rolls out its own designs using the Metro UI design language — some of which are included here — others are following suit. We’ve included ten sites for your inspiration that have a Metro-inspired look in some way. For most, the grid of tiles is Metro’s identifiable trait, but we look at sites inspired by other important aspects of the system such as type, imagery selection and iconography.

Xbox

Up Magazine

January Creative

Winrumors

My Kind of Phone

Windows Phone

MetroTwit

Chrome Web Store

The Verge

Touchality

Advertise here via BSA

To begin with what I hope will end up being a mindful, thought-provoking article on the essence of timelessness in design, I felt it only fitting to start with what gave birth to this idea. As a designer and all around technology consultant, it’s my job to stay up-to-date with current trends and product offerings, which by its very nature is contradictory to the idea of timelessness. I’ve been grappling with this concept for over two years now. A lot of you that follow me on Twitter know that I’m an absolute nut about cars. Up until about 24 months ago my passion lied almost exclusively in late model Teutonic sport cars. While watching TV, I happen to catch a show that was documenting some of the most expensive and most sought after collector cars. Skip to Ferrari’s 1958 250 Testa Rossa.

This car single-handedly defined timelessness (for me). We could argue that this car exudes a certain panache that isn’t available in any modern automobile, but that’s not the point. It’s simply that this car has such a presence and immersive attributes that nearly 55 years of evolution in design and technology could not displace a car that was purposefully built without drawings—it’s absolutely beautiful.

Many of us (myself included) are caught in the moment; the current trend if you will. The notion of creating something that in 10, 20, or even 50 years from now that is still acceptable by the current standards is wildly unimaginable. I would attribute this largely in part due to the blistering pace that 1’s and 0’s change. Fancy software packages that are enablers of efficient, pixel perfect designs can also be a limiting factor that keeps a design constrained to boundaries that are predisposed. Just a thought…

So what, if anything, are parameters that define timelessness in a broad scope of design? Can they be reproduced? Do standards aid or hinder a design (again speaking solely on the topic of timelessness)? And finally, is timelessness a completely subjective category that we group designs and products into based only on our perception? Let’s go ahead and start dissecting these questions.

So what if anything are parameters that define timelessness in a broad scope of design?

There’s without question organic beauty and elegance in certain products that set the tone for a lifetime of admiration. But, is it purely happenstance when something that is created can stand the test of time? To that question, I would be torn right down the middle. Unequivocally, we live in time when the majority of what we look at and what we buy is made for use and consumption in the present. Predisposed product lifecycles set the stage for recurring purchases and an overall disposable mentality. Uniqueness unto its own is especially important on the topic of timelessness. We never see a product or design that’s complacent stand out from the crowd. Be unique in your designing!

Can they be reproduced?

Absolutely not. The shapes, lines, and performance that define one product simply cannot be applied to another and have guaranteed similar results. Timelessness can take on different forms based on the industry of discussion. An auto manufacturer likely would not approach a product design in the same light as a furniture manufacturer. One thing is for certain; timeless design often is handmade with the utmost attention to detail.

Do standards aid or hinder a design (in terms of timelessness)?

Only speaking in terms of timelessness, I personally believe that standards do hinder the opportunity to create something that could be timeless. In no way am I saying that it can’t happen, but often it’s when people and companies break the mold of standard operating procedures that something timeless emerges.

Is timelessness completely a subjective category that we group designs and products into based only on our perception?

Clearly each individual has their own preference when it comes to selecting products. But in terms of timelessness, I believe we all come to an equal playing field. It’s not simply that you are engrossed by the Testa Rossa like I am. It’s more about appreciation, respecting when something has stood the test of time, and paying homage to the designer and their creation. I’d love to know your feelings on timelessness. Go ahead and post any thoughts, feelings, or snide remarks below.

Advertise here via BSA

Before you approve that new logo you’re considering, stop for a moment to consider how people perceive visual information.

The content of your logo is third in the sequence of recognition, behind shape and color, because the brain takes more time to process language.

Letterforms can be very powerful in creating content and meaning. The use of initials as an identifying mark has been around for centuries, since medieval kingdoms became economic enterprises. Letterforms are often abstracted to create clever symbols which act as metaphor for the core brand positioning.

These symbols combine a strong form and shape that influences content:

Many logos consist of only the name of the destination without any iconic symbol. These wordmarks or logotypes range in complexity from straightforward typesetting of an existing font, to a completely custom typographic mark. The most effective wordmarks have something unique embedded or changed in the typography that create metaphor and imply meaning. It can be a clever graphic inserted into the word, a texture applied to the letters, or the transformation of a letter(s).

Getting to the Heart

Too often brands rely on cliches such as script typography to denote luxury, even though it doesn’t necessarily distinguish or get to the heart of the brand. It’s not that these logos aren’t nice on the surface, but do they really speak to the core of the brand message?

For example, If you’ve ever had the pleasure of staying at the Lake Placid Lodge in New York state, the script type might confuse you. The Lake Placid Lodge is designed in the Adirondack Great Camp tradition – solid, rustic and earthy. The script type has little to do with the resort’s heritage and brand position.

Clearly, there are many decisions to be made in creating a new logo or identity for travel and destination brands; obvious considerations such as which words to include, to more subtle factors like shape and the emotional impact of certain colors. If you’d like to learn more about logo design and how shape, color and language content are interpreted by the human brain, we recommend these sources:

• Designing Brand Identity by Alina Wheller

John Wiley  & Sons, Inc., 2006

• ‘Meggs’, A History of Graphic Design, 4th Edition by Philip B. Meggs and Alston W. Purvis

John Wiley & Sons, 2006

• An Osteopathic Approach to Children by Jane E. Carreiro

Elsevier Health Sciences, 2003

• “Dual perspectives give science added insight into brain” by Michael Purdy Homewood

The Gazette Online, the newspaper of The Johns Hopkins University 2002, VOL. 32, NO. 2

Advertise here via BSA

I have to admit right up front that the title of this article is a bit of hyperbole. You might be quick to think that a t-shirt line that can be started without any money cannot possibly be a good one. It’s true that we could easily end this post in a few sentences by suggesting one of the many turnkey websites that sell one-off digital printing on every product imaginable. However, I am actually referring to starting a high quality screen printed t-shirt line without any money. Thanks to the internet…this is very possible.

Tell Your Story

One of the main ingredients in beginning a new tee line is to create a story about the brand. Something authentic and genuine, the story needs to resonate with the demographic you plan to market to. The intention here is to create a small army of followers that will help introduce the brand to the masses on the internet. This fan base is probably the most key component to creating your t shirt line without any money and will be referenced many times over in the steps below.

Telling your story is also a great way to help you figure out some very important things about your marketing strategy. Following the conversation and your brand mentions will help you identify where your followers’ online hangouts are and how they interact. This is key to knowing the “how” and “where” to most effectively get your message across to the eyeballs that need to see it.

Create Awesome Designs

Now that you’ve got your story, it’s time to turn your attention to another obvious necessity: t-shirt designs. Obviously without great t-shirt designs you’re not going to get very far. Quite often the designs themselves are what inspires the whole project. You can let your style shine and share your creations throughout each phase of the design process so your followers can watch the evolution. This is another easy marketing tactic that gives people a feeling of inclusion and it builds anticipation for the final products.

So now you have your designs and a compelling, marketable story…so what next? Now it’s time to set up an online storefront where you can sell your tees. Again this step can be completely free! Thanks to sites like Storenvy (totally free) and Big Cartel which offers a tiered membership (with the basic one being free), it’s never been easier to quickly and painlessly establish your business’ online sales presence. This can be a huge step since actually having this online store will make it feel more official, both in your eyes and in the eyes of potential customers.

The Launch Before the Launch

Speaking of potential customers, the next step is to provide them with a central hub where they can go and check for updates and information while you’re doing your behind the scenes stuff. True enough, you could just direct them right to the store page, but since that is mostly designed for the express purpose of shopping it often isn’t really the best avenue to release news about your progress. That’s why it pays off to invest a little bit of time (and don’t worry it’s only time, no money) in creating a launching page using a free site like Launchrock. You can collect email addresses with the landing page and keep everyone updated on your pending launch.

The Sales Before the Sales

Now it’s time to nail down some specifics about how many people are interested in your t-shirt line and which designs are going to be popular. You can do this by listing your designs as pre-sales on your store site. Doing pre-sales is a great way to lessen the risk involved and prevent wasted expenses. The is a great way to determine the sizes and quantities needed when it is time to print.

The Social Hustle

One more important thing to keep in mind though is promoting your business and designs. If you just set everything up and walk away from it chances are it’s going to fall flat. Instead get the word out, and then keep getting the word out. Promote your t-shirts on all your social networking sites. Release announcements about launches, and release announcements about pre-launches! Build as much buzz and momentum as possible by constantly hustling your brand on social channels such as Twitter, Facebook and Tumblr. Just don’t be afraid to ask people for links, likes, and re-tweets!

Give Your Line a Kickstart

Have you come all this way only to find that now that it’s time to pull the trigger and go into production (and thus unavoidably incur some costs) that you are lacking in some necessary funds? Don’t worry there’s a way to help ease the financial blow for this part too! Thanks to Kickstarter you can get people to donate to your goal and thus, help “kick start” the whole production. Check out successful campaigns like the one Seibei ran. It is at this phase of the process where you’ll really see things start to come together. This is where building up the small army of followers mentioned before can make all the difference in the world. This is where they will be salivating to back the project and get their return based on their pledge amount.

So there you go, now you know how to launch your own t-shirt line using little to no money while still giving your business a good chance for success! There will be work involved no doubt, and it is going to take a whole lot of effort by your and more than likely a good bit of help from friends, family, and possibly even kind strangers, but you can make it happen.

Advertise here via BSA

via

Designing a new logo for a brand, especially travel/destination, requires careful consideration of the competitive set, content and how people perceive visual information. After shape, color is the most powerful element in creating brand recognition. It is also the most subjective element because it triggers strong emotions. And to further complicate the matter, individuals, as well as cultures, perceive color differently.

We often associate color with a variety of events, rites of passage, and objects. Things we taste, such as a lime or orange, generate color imagery. So does the scent of a pine forest or a bouquet of lilacs. Certain colors are often associated with emotions, such as blue with loyalty, yellow with cowardice, and purple with spirituality.

Some ancient societies believed in the healing power of color: red for energy, blue to reduce allergies. Although modern society is skeptical of such “powers”, consider this: babies born today with jaundice (a yellowing of the skin) are treated by exposure to a blue light which triggers a positive metabolic reaction.

In western cultures, some wear white to symbolize cleanliness, virtue or chastity. In China, white is associated with grief and mourning. In western culture black has negative associations — the dark side, blacklisted, the Black Plague, black magic and death. Our language uses color in euphemisms — the grass is always greener, don’t be a yellow belly, or his face was red as a beet. In the past few years the color green has taken on new-found meaning while becoming the color and word of the decade. Whether through subjectivity, spirituality or science, colors create meaning in our world.

Research shows that 60% of a purchase decision is based on color.

via

Sometimes that color is not defined in the logo itself, but how it is applied to the overall brand to stimulate recognition. UPS utilizes brown as their signature color on vehicles and uniforms, and even verbally in their campaign slogan “What can Brown do for you?” Tiffany’s is infamous for their little blue box and Target uses red everywhere.

via

But be careful: similar industries often use similar color palettes. Many beach resorts and coastal destinations use medium soft blues with some soft yellows and/or oranges in their palettes. Ski resorts tend to use a lot of cold blues and white. This is why carefully considering color palette for your destination brand is critical as you move forward with the implementation of your logo and the brand identity grid.

Sara Tack is EVP of Image and Identity for Wanderlust, a travel and destination marketing firm that specializes in communications strategies, Internet marketing, branding and management consulting for the tourism industry.

Advertise here via BSA

Travel and destination brands operate in a complex environment. Not only do they compete within the world of travel, but also with many other categories that vie for our personal free and leisure time. This includes TV, movies, video, computer games, the comforts of home, recreational and leisure activities, family time, soccer, even shopping.

Before starting an identity project, it is essential that you analyze the competitive set and then determine what gives your brand distinction. Since the competition is so broad, its important that travel and destination brands understand where they fit so they can successfully stand out from all of their competitors.

Distinctive design can give a brand a unique presence and expression.

While a logo is only one component of a brand, it’s purpose can be thought of as a visual ambassador. The right logo will help create desire. It will have a point of view. And set the standard. It should represent a body of core ideas, yet rarely can it perform this task literally. The best logos imply meaning through representation and metaphor. They can take their form as wordmarks, or letterforms, as graphic symbols or a combination of words, letters and symbols. They range from the literal to the illustrative to the abstract.

With so many possibilities, how do you choose the right direction?

When creating a travel or destination logo, we examine the competitive environment and then consider three elements – shape, color and content. It is unrealistic to expect a logo to represent every detail of your brand, but having a good ambassador with a unique, authentic expression will serve your destination well for years to come.

Competitive logo review

Given the benefits of a distinctive identity, it’s a wonder that so many travel and destination brands within a competitive set use similar iconography in their logos. Comfort Inn, Holiday Inn Express and Days Inn all have a sun icon. The MGM Grand and Ritz Carlton logos both sport a beautiful lion.

Many cities utilize a rendering of their skyline. Golf course logos all too often incorporate complex illustrations or clip art of golf clubs. According to Logo Design Guru, a website where you can buy a logo starting at just $99: “A golf course logo graphic should be very creative and must highlight the salient features of golf, like clubs, balls, etc.” In other words — make it look like every other golf course.

A few years back, when the Wanderlust team was rebranding Windham Mountain, we collected the marketing materials of 52 competitors, to better understand their competitive set and search for an opportunity to create meaningful differentiation. What we found was nothing short of cliché: 90% of the competition had a mountain in their logo. The mountain iconography ranged from the abstract to the literal, but in the end each of these resorts built an identity around what makes them similar, not what makes them different.

The folks at Windham learned from this exercise that mountain imagery in whatever form was something they needed to stay away from in order to stand out from the crowd. The place to draw inspiration for their identity was their unique brand positioning — that differentiating, relevant, deliverable and ownable mojo that makes Windham Mountain desirable to its customers.

There are actually a handful of ski resorts who have gone so far as to eliminate references to anything to do with skiing and snowboarding in their logos. The ones that have done this are attempting to communicate their brand essence, what makes them different. Now one might argue, for example, that a logo like Beaver Creek’s has nothing to do with skiing and therefore doesn’t communicate to skiers, especially if you had never heard of Beaver Creek before.

Beaver Creek’s logo is about luxury. Its monogram of interlocking ‘B’ and ‘C’ letterforms are reminiscent of Coco Channel’s C’s or Gucci’s G’s. The script typographic wordmark would more likely be found on a bottle of champagne.

While Beaver Creek’s logo is effective at differentiating the resort, script type and monograms are not necessarily the best way to communicate luxury in all situations. In fact, scripts and monograms are actually pretty common in the broad category of luxury. However, Beaver Creek was the first to successfully and sustainably position themselves as a luxury ski resort and, as a result, they own it. No competitor can take this position away from them as long as they remain true to the promise.

Advertise here via BSA

Cognitive Dissonance and The Choice Paradox

Cogni-Huh What-O-Nance?

A powerful cause of dissonance is an idea in conflict with a fundamental element of the self-concept, such as “I am a good person” or “I made the right decision”. The anxiety that comes with the possibility of having made a bad decision can lead to rationalization, the tendency to create additional reasons or justifications to support one’s choices. A person who just spent too much money on a new car might decide that the new vehicle is much less likely to break down than his or her old car. This belief may or may not be true, but it would reduce dissonance and make the person feel better. Dissonance can also lead to confirmation bias, the denial of disconfirming evidence, and other ego defense mechanisms.

Options

Everyone likes having options, right? I mean, if there was only one car ever made, regardless of how well it was built, or how cool it looked, there is nothing fun about being forced into a decision.

We want to personalize! We want the red convertible with the tan leather interior and the iPod hook-up, with custom rims. Green just won’t do! It’s this definitive decision that makes us happy, even ecstatic when we find the perfect [insert your idea of perfect here]. However, it is this same choice that can ruin an otherwise perfect experience.

Observed in many cases is the paradox that more choices may lead to a poorer decision or a failure to make a decision at all. It is sometimes theorized to be caused by analysis paralysis, real or perceived, or perhaps from rational ignorance. A number of researchers including Sheena S. Iyengar and Mark R. Lepper have published studies on this phenomenon.[2] This analysis was popularized by Barry Schwartz in his 2004 book, The Paradox of Choice.

I Want More Options… No, You Don’t

We are very busy people, we have schedules to keep, places to be, things to do. We don’t always have a gratuitous amount of time to make an informed decision and rely on what we’re presented with to help us make that choice. User Interface Designers, UX Professionals and hopefully “decision makers” know the value of a persons time, and ensure choices are as simple as possible.

Consumers have been bred to think more is better. We’re all guilty of it in some way or another but the fact is, choice suppresses conversion. We are more likely to be unhappy with our decision if we have too many options to choose from.

If we can not limit the number of options, there needs to be some method to narrow them down. This could be anything from a customer rating system to, putting the most common choice(s) up front.

Conclusion and Sources

Sometimes we can’t take away the number of options we’re asking the user to choose from. But we can try and solve for the best possible outcome. By giving the user a means to drill down their choices, or offering up a “Best Value” or “Popular Choice” we help minimize cognitive dissonance thus giving them a richer user experience.

When Choice is Demotivating: Can One Desire Too Much of a Good Thing?
Cognitive Dissonance Wiki
Changing Minds

Advertise here via BSA

As creatives, we rely heavily on inspiration. There are so many sources for inspiration, and sifting through them all can be a daunting, time consuming task. While inspiration definitely shouldn’t be downplayed, we can miss the mark easily by thinking that immersing ourself in the creative work of others will simply saturate our minds with creative ideas.

It’s important to consider that true creativity, at its source, comes from within. Whether it is influenced by other creative work is irrelevant to the creative quality of the work.

Cybernetics

For the sake of our conversation, cybernetics (Wikipedia link) is the study of working within a constrained system of control. Cybernetics is an interesting study that spans many disciplines, and therefore can be generalized to almost any practice. A subjective definition that illustrates the scope of cybernetics comes from Larry Richards at George Washington University’s American Society for Cybernetics: “a way of thinking about ways of thinking”.

So how can I use it, practically?

Instead of focusing on what cybernetics is, let’s think about how the theory applies to a creative project.

When we approach a creative project, as we have stated before, we attempt to look for inspiration. But perhaps we are going about this searching in an incomplete way; instead of searching for external inspiration as is our original tendency, a creative cybernetic approach would attempt to search for inspiration within the project itself. Instead of thinking about what the project is (a cool looking website, a great looking poster, a logo), instead we look at what the project does. We look at the form and pattern, control and communication, and we in turn begin to create towards this.

A way that we can leverage this towards inspiration is by introducing artificial constraints within our creative projects. This was the premise behind Roy Ascott’s two-year Groundcourse program. Students would begin by studying illustration with given constraints that were often bizarre. For instance: “If a cough is represented by 5 jagged lines, draw the BBC Time signature“. The bizarre nature of these assignments was far different than traditional art assignments that may focus instead on previously created art (such as a prompt similar to the following: “draw a picture that is influenced by cubism”). The assignments continued to become more involved in the first year, moving towards 3-dimensional sculptures. In the second year, the students were asked to apply the constraints of a system to themselves by literally taking on a different personality than their own. For ten weeks, students would act and respond in opposition to their ingrained “nature”.

The program forced students to understand the power of control and systematic constraints, and the ways in which to work in and out of those systems.

In your next project, begin by examining the function and purpose of the finalized piece of work. What are the possible (both common and uncommon, expected and unexpected, “good” and “bad”) directions? What, if any, are the constraints that are already naturally on the project? What rules exist (both from a media format sense as well as a subjective, imposed sense)? What are some restrictions you could introduce that might provide a more finite sense of control over the project itself?

Conclusion

At the end of the day, inspiration is an elusive beast. We have ontological models of how to become inspired; perhaps we are more creative than we give ourselves credit for, and only when we feel constraint and pressure can we actually release our creativity.

Advertise here via BSA

Owning one’s own business has often been associated with the American Dream. Along with owning one’s own home, the Dream is to prosper while not being under anyone else’s rule. But while so many of our ancestors immigrated to the United States and started from scratch by building a business, more recent generations tend to take the “safe” route and work for someone else. However, since our country has entered into economic turmoil, it’s not necessarily the more risky route to start up a company. Here are five reason why.

1. There are no guarantees anymore.

It used to be you’d work at a company for 25 years and be rewarded with a pension and a gold watch. You picked and chose your employers based on the benefits package they offered. You paid into a 401k. These days, none of those are guaranteed. A senior employee has been there for five years. Often only teachers and government employees get pensions – and even then, it’s a maybe. People’s 401k’s evaporated. And the balance between what you pay into your benefits package versus what you get back can be laughable.

2. There are more funding options than old-school small-business loans.

With money tight everywhere and even big companies failing, banks might be tough on the most well-thought-out business venture. However, there are alternatives to the typical loan, such as joining a credit union. Because credit unions are not-for-profit, they’re often able to offer better lending terms. In addition, websites like Kickstarter let you crowdfund your business. The site helps you set up a funding page, and you can reach out to friends, family and contacts for investments.

3. Brick-and-mortar? More like brick-and-OVER.

More and more people are setting up online, home-based businesses. With sites like Etsy that let you set up your own virtual storefront, you don’t have to take on an entire shop lease yourself. If you’re not selling products but rather services – such as design, writing or accounting – all you might need is a well-designed, user-friendly website and some simple marketing skills (more on that next) to get people to find – and hire – you.

4. Business tools can be free to cheap.

Social-networking sites have really changed the concept of marketing. Sites such as Twitter and Facebook are free, so non-business-savvy companies can afford to take a chance with their promotional campaigns. Also, with tools like FreshBooks and QuickBooks, cash-strapped businesses can get away with not hiring a bookkeeper or taking on the task themselves.

5. You’d probably get laid off anyway.

Starting your own company is a proactive step. Practically everyone knows someone – perhaps even themselves! – who has been laid off. If you have a fantasy about being your own boss, now might be the best environment in which to try.

Image: Kevin Rosseel

Advertise here via BSA

I grew up in the “i” generation. Where I’ve only played, purchased and used iTunes since its inception. I stood in line for the first iPhone as well as the next two… I purchased the first iPod, the second and a later generation… I watched keynotes through still pictures on “live blogs” to catch a glimpse of Steve hoping… For a “and one more thing”. I purchased technology because of it’s beautiful form and Steves energy.

Steve was an extrodinary person that the world will miss. He pioneered on various forefronts and his attention to detail was unsurpassed. As a creative mind, I learned many life lessons from his vibrance and his amazing life.

But, most importantly, I thank him for what he did as a person and my thoughts go out to his family and his extended apple family.

Thank you Steve…

Advertise here via BSA

I haven’t always just written about design. No, back in the day, I designed for magazines and newspapers. The following is my story of why I left the graphic design world. I also chatted with other former designers about their varied reasons, ranging from disinterest in the business side to physical ailments.

I toiled in the print publication trenches for years, facing daily deadlines and relying on my limited math skills to figure out column inches (this was in the ’90s, when designers still used proportion wheels and X-acto blades). But here’s my confession: I wasn’t very good at the creative side. I’d churn out a two-page feature layout in a few hours and expect it to be ready for print, whereas my co-workers would work on several versions for days, painstakingly redesigning a drop cap in six different ways.

One art director at a magazine encouraged me to spend more time on each article layout. He didn’t relate that I came from the newspaper world, where we sometimes left a hole for a last-minute story that we’d just plunk in on deadline – there was no time for more than one take! I blame my journalism training for my succinct style I abide by to this day – why say in four words what I can say in two? Why design three versions when I can be done with an assignment in one?

While I appreciate design every day – I surf through creative websites on a daily basis, admiring the typography and color choices – I don’t see myself in that world and choose to leave it to those with the skills, passion and patience for design.

I’ve known a number of other people who’ve also left the design profession but for wholly different reasons. Here are the top reasons why:

• Low pay.
• Layoffs in the print industry.
• Couldn’t or didn’t want to keep up with new technology.
• Lack of creativity in projects.
• Carpal tunnel or other ailments from sitting at a computer all day.
• Disinterest in the business side of freelancing.

What are some of the reasons you left – or are considering – abandoning a design career?

Image via penywise/Morguefile.

Advertise here via BSA

Music is vital in creating emotions. Without it movies and TV would be duller then watching grass grow. The role of audio branding is similar to that of creating a visual identity. Audio branding specialists want the organization to sound consistent across multiple mediums like TV, radio, web and phone. To do this they use style guides just like a company would use its visual style guide. The only difference is that it will reference the kinds of sounds that a brand should make and where those sounds should be made.

Examples of audio branding

Audi

The car manufacture Audi has its sound identity nailed. They’ve gone through the painstaking process of recording every sound of every car they make and cataloging them in a massive database. By pre-recording every sound a car makes Audi can keep their sound consistent no matter what agency touches their brand. Also, they increase the efficiency at which their commercials can be produced because when they need a car sound all they have to do is call up the appropriate recording rather than having to create the sound from scratch.

McDonalds

Another great example of strong audio branding is McDonald’s “I’m lovin’ it” campaign. The secrete sauce for this sound brand is the fact that is it versatile. It’s main tagline ba da ba da baaaaa…I’m lovin’ it and the notes that represent it have been spun in many different genres. For McDonald’s this is smart because they need to tap many different demographics.

NBC

In a similar vein, the broadcasting company NBC does quite well. The famous three note chime has been created using many different styles (see video below). Again, this plays well to the broad audience that NBC caters.

Licensed Music

So far I’ve only talked about brands who use custom music. What about brands who use licensed (AKA borrowed) music?

Although I don’t feel this method is a great long term strategy brands that appeal to audiences that follow trends will work well for this technique. You might find my apprehension to using licensed music odd because three of the world’s top brands follow this strategy. They are Coke, Pepsi and Apple.

Most recently Coke used the 2010 FIFA World Cup to launch a very successful campaign that featured K’naan “Wavin’ Flag”. Its rival Pepsi is well known for its collaboration with pop stars including Britney Spears. And Apple has started several careers for smaller unknown bands, plus, it has the Beatles!

Until next time happy listening.

Advertise here via BSA

If you’re a graphic designer who can’t bear to see Helvetica used for one more postcard or Times New Roman on another newsletter, then it’s time to expand your font library. But what to do when you’re a freelancer on a budget? Find free fonts!

League Script #1, from The League of Moveable Type

I racked the brains of designers as well as scoured the web in search of free fonts. I then compiled a list that includes popular go-to sites such as DaFont as well as lesser-known pages and even nondesign websites that just happen to provide free fonts. The fonts you’ll find on these sites include calligraphy, stencils, military, children’s themes, handwriting, graffiti and comic fonts. You’ll find inspiration for wedding invitations, business cards, scrapbooks, marketing postcards, kids’ parties and more.

A caveat: Not every font on each site listed here is free. On some sites, every font is free of charge, and on others, perhaps just one is.

I have a request for typography fans: Which free font sites am I missing?

1001 Fonts

1001 Free Fonts

About.com

Abstract Fonts

Acid Fonts

BillyBear4Kids

Blambot

Bob’s Your Uncle

BV Fonts

Celtic Fonts

Cumberland Fontworks

DaFont

DailyFreeFonts

Fontalicious

Font Cubes

Font Environment

The Font Factory

Fonts for Peas

Font Garden

Font River

Fonts101

Fonts2u

FontSpace

Font Squirrel

FontStock

Font Temple

Font-Zone

Free Fonts

Free Premium Fonts

Free Script Fonts

Iconian Fonts

InstantShift

Johan Cedmar-Brandstedt

The League of Moveable Type

Lost Type Co-Op

MediaFire

MyFonts

Princess Fonts

Quantum Enterprises

SearchFreeFonts

SimplytheBest Fonts

Typoasis

UrbanFonts

Zono Art

Advertise here via BSA

The 1999 American movie Fight Club, often described as a coming of age film, is a mind-boggling flick that goes beyond Brad Pitt. So what does Fight Club and typography have in common? The challenge to try to piece things together!

And as action packed as the film’s explosive ending, typography requires the same sweat and blood to express ideas with text. In fact, the movie’s unusual storytelling gimmicks and cool camera tricks are a first-rate inspiration to experiment with typography.

Kinetic Typography Experiments

The synthesis of words and animation define kinetic typography. In simple terms, it is aptly described as “moving text” and is usually developed using standard animation programs. The following Fight Club-inspired kinetic typography artworks intensely echo the feel and dynamics of the film.

Fight Club – Chemical Burn by Sebastian Jaramillo

This kinetic typography from the San Francisco based web developer evokes the chaos and order from the chemical burn scene in Fight Club. Behind the animation are the voices of Tyler Dunden (Brad Pitt) and The Narrator (Edward Norton) synced dramatically with the rhythmic appearance and movement of words.

Fight Club Intonation Typography by Craig Chupinsky

Motion media animator Craig Chupinsky created this typographic visualization of The Narrator’s (Edward Norton) introduction of himself and his job as a projectionist. Like the character, Craig starts the animation with a monotonic style and in-between surprises the audience with splices of wit and humour. Keep your eyes open.¬†

Typography Posters

The stationary characteristic of typography posters makes it a challenge for artists to make sure that the type is both legible and artistic at the same time, whilst conveying an idea or emotion in 2D.  With the absence of animation and auditory features, the following posters are equally laudable for successfully delivering slices of emotion and unique impressions of the movie.

Fight Club Typography by Mauroof Ibrahim

Animator Mauroof Ibrahim used typography and vectors to render the movie’s feel in this poster. Although unlike its kinetic counterparts, this Fight Club inspired creation injects movement through a cause and effect impression of graphics and text.

Fight Club by Jerod Gibson

The role of a bar soap in Fight Club is well highlighted on this art print by creative director Jerod Gibson. The artist used the element itself to contain the most striking dialogues in David Fincher’s film. Though lacking in movement as compared to Ibrahim’s work, this poster goes against the grain of action-themed styles that explicitly pronounces Fight Club as an inspiration.

The Eight Rules of Fight Club by Drew Mander

In typography, the rule of emphasis is exhibited with the exaggeration of words with a font in a different style from the rest of the content. And graphic designer Drew Mander applied this commandment to present the Eight Rules of Fight Club.

Like Gibson, Mander did not engage extra visuals to interplay with the words. Instead, this typographic poster employed the texture of a crumpled paper in the background and an almost subliminal scratched effect on some of the letters, as if they got into an alphabetical fight themselves.

Advertise here via BSA

In a time when designers are often too busy to network and seek further education, podcasts have become available to teach so we can learn while we go about our business. I recently “met” Kitty Florido on Twitter when I asked for graphic design podcast recommendations. Florido is a graphic designer who owns Asterisco, a design and photography business in Guatemala.

Florido and I chatted about the rise of podcasts this decade and what role they’ve played in her training, education and sometimes just entertainment. Florido had posted a page on her blog called “Podcasts I Listen To,” and it’s exactly that: a page started for her friends who were always coming to her for podcast recommendations, and now Florido goes through it every four or five months to keep it current.

After listening to hundreds of podcasts throughout the years – and learning what she liked and didn’t like about certain ones – it was only a matter of time before Florido took on a podcast, “Rookie Designer.”

Why did you start listening to podcasts?

I started a lot of years ago – I’ve been listening to podcasts since they were first available. I had to drive to my business every day for an hour. First, I was bringing my iPod in the car because I hate listening to commercials.

It was hard to find them with good content. There were some business and some design, but there were very few. Then I started listening to a friend of mine, Tim Coyne, who does “The Hollywood Podcast,” which is interviews with stars – nothing designer related or anything.

What made it easier was the iTunes store’s guide. There I found “Rookie Designer.” I found some other podcasts – some of which are already dead. One of the things it allowed me was to stay current and be a part of something else. My office is a one-woman business, so I’m not exposed to other co-workers’ ideas.

Where and when do you listen to podcasts?

Now that I’m working from home, sometimes I have to be in the mood. I try early in the morning, like right when I can cram more information in. If I’m listening to marketing-heavy podcasts, I don’t want to listen to that at 5 in the afternoon. If I listen to one about cooking, I don’t need that much attention to follow that train of thought. I do have specific times when I listen to specific podcasts.

Design is so visual – what are the challenges in coming up with engaging podcasts?

I think that it’s really hard for a podcaster to get the idea through – not because a picture is a thousand words but because you have to describe a lot of things. It’s a different approach as a graphic designer and photographer.

Sometimes I’m just looking for a train of thought instead of listening to my iTunes collection. It keeps your mind busy. If I’m listening to a very interesting conversation, I listen to the entire conversation. When I started listening to podcasts, I had to drive an hour to and from work, so it was my little time in the car to connect to the rest of the design world.

What do you look for in a podcast?

If I was listening to a podcast with a monotone, that would bore me. There are some hosts that can be very much like that – or in your face. They’re just kind of rude. That pushes me away. I need someone maybe not completely likeable but just with manners – a sense of humor. The topics need to be interesting and have a train of thought.

The first episode we made recently of “Rookie Designer,” I found it’s hard for me to talk as a podcaster. If it’s two hosts – like “Rookie Designer” is – they go back and forth, but if it’s one person going, “Uh-huh,” that’s not very interesting.

I really like Chris Marquardt’s “Tips From the Top Floor.” He’s a German guy who knows a lot about photography. I went to his food-photography workshop, and it was amazing. It was amazing to see him since I’m used to listening to him! It was one of the first podcasts out. It has intro music that sets the mood – it has music that someone wrote for him! Some podcasts just start without an intro – they just start talking.

How did you become a part of “Rookie Designer”?

“Rookie Designer” was started in ’06. A little more than a month ago, Adam Hay contacted Jake Van Ness, owner of Prepressology, and myself. It’d been silent for a year, and we just released our first.

What have you gotten out of podcasts and other newer technology?

The podcast world has definitely been keeping me up to date. That’s how I learned in 2007 about an InDesign conference in Florida. It’s just a short flight from me and was the first of its kind. I went and met people and realized there’s a whole different world out there of people who like the same things. Since I’m working by myself, I find it’s hard to find friends who do the same thing. I have a few other friends here in Guatemala who were not keeping up with the trends. Before podcasts you had to look for forums to get advice, but technology has made things so much different, like with Twitter. I used it in 2007, and it was extremely new, and no one knew what it was. It has helped the distance and to share knowledge and to express frustration.

Technology has opened a lot of doors for me. There’s a program called design4kids, and I’ve been working with them – I bumped into them through Twitter. Every time they do workshops, I’m in the U.S. instead of Guatemala, but one time I did an online review of the students’ work. And through Twitter I was able to gather designers to help.

What is the future of “Rookie Designer”?

We want to do it twice a month. … We want to do a good, solid episode – we’re really glad with the feedback so far. We want to talk not just about design but also photography and tech geek stuff. At the same time we want to approach subjects and ideas that many designers – rookie or not – face each day. For example, what about client issues, the business side of things? At first we’re going to see how every two weeks works – we’ll see. The important thing is to be consistent.

I’m a Mac user, and Jake is a PC user, so we go back and forth with applications that might not do the same thing but produce the same results.

What are some of your favorite podcasts?

“The Freelance Radio Show” for graphic artists and writers.
“36 Point” for design.
“Managing the Gray”
“Six Pixels of Separation”
“Tips From the Top Floor”
“Enough – The Minimal Mac Podcast.” They talk about minimalism. They have no intro – they just start talking about things like: How many apps do you download, and how many don’t do a thing on your Mac?