May 10, 2011
Storyboard/Script-in-Progress for Final

[3]Before there was relativity, there were absolutes.

[4]Aristotle, Greek philosopher and all-around badass, believed the natural state of an object was absolute rest.  [5]This jived with the universally held belief that the Earth was the center of the universe, which stayed at rest while every other heavenly body rotated it.

This belief lasted for roughly 1800 years.  It had the benefit of being both supported by the Church and being incredibly flattering to us Earthlings.

[6/7]But in 1543, Copernicus risks heresy and ridicule by suggesting that the earth itself is revolving, along with the other planets, around the sun.

 [8]Enter Galileo, who builds the first telescope and makes observations that are consistent with the Copernican model. [9]Galileo also disproves Aristotle’s belief that heavier objects will fall with greater speed by allegedly dropping two balls of unequal weight off the Leaning Tower of Pisa, proving that Galileo was more likely what we would call “book smart” rather than “street smart”.  [10] But notice that when those balls fall on those unfortunate people below, they do so at the same time.  This disproved the Aristotelian belief that objects would be forced to fall at various rates depending on their mass. 

[11]Newton compounds upon Galileo’s measurements, and forms the theory that the natural state of motion is uniform – an object in motion stays in motion – and that forces cause changes in motion.  Even more importantly, Newton’s laws of motion don’t favor a particular place or context – you can expect the laws of motion to work anywhere you go.  [12]Take the common example of a ping-pong game being played on a train.  To the players on the train, the ball moves less than three feet between bounces – [13]but to an observer outside the train, the ball moves forty feet.  Position becomes relative to the observer.

[14/15]We’ve just disproven absolute space. We’re halfway there.

Let’s talk lightwaves for a second.

[16]Meet Danish astronomer Ole Christensen Roemer, who discovers the speed of light in 1676 [17]by realizing that the orbits of the Jovian moons varied depending on where Earth was in its orbit.  His theory was that the light from the moons was taking longer to reach us. Pretty good guess, Roemer.[18]

[18.5]So we’ve established a constant speed for light – but relative to what? [19]Ocean waves move through the medium of water; [20]sound waves move through the medium of air.  Scientists believed, therefore, that there must be a medium that light waves move through – [21]and they came up with a substance they called the ether.  Yes, the ether.  I know.

Except there was one problem – no experiments and no twisting of mathematics could detect the existence of any ether.  The speed of light appeared to just be a constant, which threw a giant monkeywrench into the works for about eighteen years. Science was stumped.  [22/23]Enter our hero, Albert Einstein, who pointed out that the idea of ether was unnecessary (and let’s be honest, a little Twilight Zone-y) as long as we were willing to abandon the idea of absolute time.

[24]The core idea behind the theory of relativity is simply this: The laws of science should be the same for all freely moving observers, no matter what their speed.  The “laws of science” now includes the constant speed of light.

That sounds pretty reasonable, right?  But the ramifications of this simple, elegant idea can quickly become brain-explodingly weird.

[25]Two identical twins synchronize [26]identical Swatches.  [27]One twin boards a spaceship that will [28]travel near the speed of light, while the other [29]goes to have a pint and watch the game at the neighborhood pub.  When Twin #1 returns from his trip, a few weeks later, he finds his brother years older.  This is because, to the traveling twin, the trip has taken less time since he was moving at almost the speed of light.

The theory of relativity throws out the idea of absolute space and absolute time, and instead creates a new object referred to as space-time.  Time now becomes a fourth dimension, a way to measure distance and find your way through the universe.

April 5, 2011
Hillman Curtis

I chose to take a look at some of the work of Hillman Curtis, mainly because of hisArtist Series, which features a few of my favorite people (Sagmeister, David Carson, Paula Scher).  I also am especially interested seamlessly combining motion graphics and video, and that seems to be a specialty of Hillman Curtis.

I took a look at a few of the Artist Series videos as well as some of his Flash motion design.  I’m mostly blown away at how good he is at distilling the sensibility of his subject matter to a visual style and running with it.  In the Artist Series, the look of the David Carson video (all dirty camera jerks and tight/close/interesting croppings of his work) mirrors Carson’s work; so too, the clean diagrams that start the Pentagram video mirrors Pentagram’s style.

His style is kind of all over the map, since he can do so many different things.  His Flash pieces would probably fall under “vector.”  He has an Adobe commercial that’s completely hand-drawn typography over a still photo of a woman.  But mostly, I guess his video work would fall under the “organic” category.     

April 4, 2011

I chose National Geographic’s “Are You Typical?” information design piece to critique.  I think this is a really powerful piece, both in the message and in its execution. 

The screen space is used completely, with text and images flying in and off from every side and corner.  Most of the composition follows the rule of thirds, with text and images landing in those sweet spots - with the exception of information that wants emphasis (“so what does he look like?” and of course the National Geographic logo at the end.)  The piece also respects the title safe cutoff. 

The images and symbols used are very graphic and universal, which suits the global message of the piece. They support the text without adding any information themselves (with the exception, of course, of the composite image.)  But even that image appears to be made up of a billion little universal guys. 

The piece is very aligned with its music (part of what makes it so successful, in my opinion) and even though it has the info design challenge of needing to keep its text on the screen for long-ish periods of time, it never feels like it drags or moves too quickly.  Part of this, I think, is due to the fact that there is always movement happening in the piece - the words are never quite static.  They’re fading, or tracking ever so slightly, or there are jerky little camera movements to keep the energy up. 

While the only sound is music, there are little features in the music that work as sound effects (the phone rings to the music at :28, for instance.)  Plus the music is energetic and fun, which presents a potentially heavy message in a lighthearted way.

The collective intent of the piece is to use the presentation of an interesting piece of information as a way to get the viewer to think about our personal impact on the world, and I believe it’s successful.  Plus the typography is dynamite.

March 22, 2011
Web Typographic Design Patterns & Best Practices Roundup

I read an article on web typography trends & best practices.  The authors of the article selected 50 popular websites where typography is a key factors: everything from CNN, New York Times, Slate, BBC to Typographica and AIGA.  After selecting their test group, they identified 13 type-specific problems or questions and used their 50 test sites to gather information.  Here’s what they found:

1. Sans serifs are preferred over serif fonts on the web - by a slight margin in headings, but a pretty giant one in body copy.  This could partially be explained by the fact that there are only 2 web-safe serif fonts (and, by far, designers are still using web-safe fonts rather than embedding others.)

2. Georgia, Arial, & Verdana are the most popular web typefaces.  Over 80% of the test sites used one of these three for headings or body copy.

3. Pure white backgrounds for text is by far the standard - though many designers used a very dark grey or blue rather than black for the type color.

4. Average pixel size for headlines falls within the 18-29. [I thought it was interesting that in this whole article they never breathed a word about sizing your text in ems - which I thought was genuinely a best practice.  But if you follow the common practice of resetting your body font size to 67.5%, you can multiply your em values by 10 to get the corresponding pixel size.]

5.  Average body copy size is 13px.

6. Optimal line height for body copy is 1.5x your type size.

7.  Average characters per line is 75-85 (which is far above the recommended 55-75.)

8.  46% of websites underline their links; others just use a different font color and/or heavier weight.

9. 6% of websites use image replacement for headings or body copy

10.  96% of sites don’t justify their text

11.  Average left-hand padding is 12px.

They made a gigantic spreadsheet and got real mathematical about it.  If you’re interested, you can find it here.

March 17, 2011

neeeeeeeeeeat.

March 15, 2011
Harmony / Chaos:  The idea behind this is that within the most harmonious and balanced of scenes lies chaos.  We see it on a microscopic scale, then an enormous scale…even aurally you can hear the chaos that perfectly composed music can become when sped up or slowed down beyond recognition.

Harmony / Chaos:  The idea behind this is that within the most harmonious and balanced of scenes lies chaos.  We see it on a microscopic scale, then an enormous scale…even aurally you can hear the chaos that perfectly composed music can become when sped up or slowed down beyond recognition.

March 14, 2011
Happy / Sad: This is a fairly literal rendering having fun with the “moods” of certain typographical shapes and elements.  Sad is being rained on by periods.  Though the weapons of Happy can’t necessarily make a difference, sacrificing a bit of Happy to cheer up Sad can…even if it leaves Happy a little less.

Happy / Sad: This is a fairly literal rendering having fun with the “moods” of certain typographical shapes and elements.  Sad is being rained on by periods.  Though the weapons of Happy can’t necessarily make a difference, sacrificing a bit of Happy to cheer up Sad can…even if it leaves Happy a little less.

March 12, 2011
Vanishing Point Title Sequence

Here’s a link to the Vanishing Point title sequence (you have to scroll down the page a bit to find them - sorry.) This is an interesting piece because it uses shape creatively to create a sense of surveillance on the part of the viewer.  We can only see bits and pieces of the whole, never a clear picture.  Plus footage is overlaid and blended to create new shapes within the already cut out frame - it looks like lenses flipping on binoculars.  The use of color and texture is very strong, as well - a beautiful brilliant gold that suggests the warm light of sunset.  The footage is very grainy, again suggesting the look of surveillance footage. The size of the frame as well as the length of the lens on the footage grows throughout the piece as we slowly “zoom in” on the subject of our surveillance. 

February 24, 2011

These are the Bored to Death credits, which I think are really neat. A fun fact: all the words used in this animation are from the book Bored to Death that this series is based on.  The movement of the words falling apart and then coming together to form images is really strong and supports the show thematically.  The music also works well with the imagery: kind of a quirky spin on a well-established noir sensibility.  Unfortunately, I cannot recommend this show.  It’s pretty lame.

February 17, 2011

These are the Lemony Snicket end credits.  This still blows my mind.  I love everything about this: the look & feel, the music, the clever path of the action, everything.

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