Sewing needle

It's a sewing needle. I was playing around with a logo, considering making letters out of sewing gear. The logo was a fail, but I kind of like this needle.

The Unicorn Tutorial

I remember my first introduction to nodes and vector-based illustration. When I was about seven years old my father, who was a high school tech teacher at the time, sat me down in front of Corel Draw 3. Up until that day, I had seen the program as a repository of clip art, not knowing what I could actually do with it. He loaded a clip art horse. Everything changed when he showed me the node selection tool. The previously clean line drawing of a horse suddenly had a mass of dots all along its outline. He explained that these were nodes, the points defining the shape of the horse. And then the magical bit: he had me select the node at the apex of the horse's ear. When I clicked and dragged that node, the horse changed. The ear elongated, following my mouse. He instructed me to move the node a little distance and then drop it. The horse was no longer a horse. Elongating that ear had turned it into a unicorn.

Since then, I've learned more about how nodes really work and what can be done with them. But that lesson still sticks in my head. It was an incredibly powerful introduction. It started a (so far) life long love of vectors. A love of all their extensibility, elegance and possibility. So today, I've drawn a horse. It's not quite like how I usually draw. It's just an outline, no shading, nothing fancy. It's a horse with two pointy ears, one of which has a little node at the apex. I've uploaded the .svg file to the Open Clip Art Library (here). If you want, you can download it, open it up with Inkscape or whatever vector manipulation program you use, and turn it into a unicorn. I've put pictures below, so you can see my unicorn. And the next time I talk to anyone about the joys of drawing with vectors, I'm going to start with the unicorn tutorial.

Making the TTC map classy

I love a good subway map. And I find it interesting how different subway maps are from street maps. Below, an experiment in doing a subway map (the Toronto Transit Commission map, to be precise) in my own particular street map style.

NATO Phonetic Alphabet Book: S-T

Continuing on with the NATO Phonetic Alphabet Book (see previous post), I present to you the letters S and T.

NATO phonetic alphabet book

I like alphabet books. I like A is for Apple, the making concrete of letters that is accomplished by associating them with things. And of course, I like standards. This is why I'm working up a set of illustrations for an alphabet book based on the NATO phonetic alphabet (you know, alfa, bravo, charlie and so on). Below, some of the first illustrations.

Colour for everything, especially wool

The post below is cross-posted on my Open Colour Standard process blog, but I thought it would be worth a look here, too.

There absolutely needs to be an open standard for print colour. I'm behind that and I'm working on it. But I'm increasingly of the opinion that there's more to it than print and screen. There's a world of physical things that depend on some sort of colour specification, whether loosely defined and changeable or rigid and consistent. On that first count, the loose and changeable, I've gotten to thinking about yarn and other animal proteins like silk and even human hair.

Anyone who knits knows well the pain of not buying quite enough yarn to finish a project, going back to the store, and finding that the yarn you've been working with, while still called by the same name, is a slightly different colour than before. Eventually, you learn to buy more yarn than you think you'll need, just for the sake of consistency. That's the problem with dye lots. Every batch of yarn, while using the same dye and same general process, comes out slightly different.

I'm not proposing to necessarily solve the dye lot problem. I have a hunch that a large part of it comes down to white and the inconsistency of the base colour of wool. But it has gotten me thinking. Wool is an interesting test case. It's easy enough to deal with, it has good possibilities for home brew colour experimentation and, most importantly, there's the dye. Wool, being an animal protein, can be coloured with acid dye. Or, to you and me, food colouring.

The food colouring angle is a good one. One of the biggest challenges of thinking about a spot colour system is sorting out the physical colour. It's been a hurdle in my exploration of colour for print. How, the thought goes, do you decide what the gamut of inks going into the spot colours will be? Are those colours consistent across ink manufacturers? And so on. This is the appeal of acid dye. In North America, at least, there's a handy gamut all ready to go. It's the set of dyes prefaced with the letters FD&C (food, drug and cosmetic) or D&C (drug and cosmetic). That's a limited gamut of dyes already carefully regulated by a government body. It takes away the gamut decision and just leaves questions of application and method guidelines/best practices, as well as the development of physical colours from those dyes and the translation of those colours into digital.

In short, expect some proof-of-concept wool and hair dye experiments from me in the near future.

The scribble couch progresses

I'll admit to drawing on furniture. To me, a white couch is an excellent opportunity to do something interesting. So there's the scribble couch. It's perpetually in progress and has been for the last year and a half. Whenever someone comes over, they get handed to fabric markers. At the moment, it's covered in poetry, tic-tac-toe games and some pretty darn nice curvy floral patterns.

Chalkboard fridge

Fridges are great. They're great when covered in pages from old comic books, they're great bare and I'm increasingly of the opinion that they're great when they double as chalkboards. I say that, of course, because a few months back (call it October 2009 or so), I painted the fridge with chalkboard paint. It's handy for keeping a running list of groceries in stock, shopping lists, or in the case of the front of the freezer at the moment, my resolution for 2010.

Low art china cabinet

My parents have a china cabinet, full up of all the ancestral stuff. In my life, a china cabinet would be inappropriate. Such a severe piece of furniture would put my plastic cups and mismatched mugs to shame. Below is my answer to display storage. It has the same function as a china cabinet, that of showing off my tableware, but lacks the gravitas of more traditional styles. Mine is made of milk crates and the slats from a broken IKEA bed. It's held together by nuts, bolts and some truly massive washers. I quite like it. It isn't, however, new, only newly documented. It was built in either late 2007 or early 2008. But I've been on a documentation spree lately, so here it is.

Umbrella Lamp

Close to a year ago, I made the umbrella lamp. I'm posting it now because I've finally gotten around to documenting. It's fairly simple. The umbrella lamp is an old IKEA lamp with some bits removed and an equally old umbrella that's undergone much the same treatment. The light bounces off the umbrella spines, creating a slightly sparkly effect. It also casts a pretty excellent shadow. In short, dismembered IKEA lamp + broken umbrella = umbrella lamp.

Truth in design, Truth in production

There's a design principle that I've often taken for granted. Distilled down to one word, it's Truth, with a capital T. But what is Truth in design? How does it apply? What, in short, does it mean?

There are two examples I like to use when explaining Truth in design. They both have to do with materiality. Here goes. Say you're designing a poster. You want it to look a little old school, a little messy, but still a little official. In short, you want your typography to have the look of an old-timey typewriter font. An easy reaction, when pressed for time, is to grab a typewriter font. I'm not talking about Courier, but instead about something that tries to mimic the little errors and ink blots of a worn out typewriter. But that font isn't very true. Use it and you'll find that all the letters look the same, each instance of a letter exactly like its siblings. It's not organic. It lacks soul. Not only that, but it's obvious that it wasn't done with a real typewriter. Then there's the truthful way. You dig out the old typewriter and honest to goodness type out the text you want. Scan it, clean it, integrate it into the poster. Each letter is a little different and the whole thing comes by its blotches honestly. In short, it's true. It's meant to look like the product of a typewriter and it does because it is.

Truth, however, is also utilitarian. That's where my other example, the one with the corkboard, comes in. Say, for the sake of argument, that you want the look of pictures or notices pinned to a corkboard. Sure, you can open up your graphics program and plunk a stock texture of cork in. You can drag whatever you want onto it, even simulate the shadows cast by the tacks. But why would you? In real life, light casts shadows for you. If you actually print the photos (or notices, or whatever) and pin them to a real cork board, it looks right, automatically. Why add shadows when light can do it for you? If you try to do it digitally, you'll miss something, or agonize for far too long in order to not miss anything. Do it in reality and the details are taken care of. Nature does half the work for you.

In essence, Truth is about materiality and reality. It's about doing it properly, with the right materials. In an idealistic sense, it's about knowing that you've got something right, that it is how it should be and isn't just an imitation. In a practical sense, it's about covering your bases, not by thinking out every eventuality, but by letting reality do the work. It may not always be convenient, but it will always be right.

Mertgart

Quite some time ago, I mentioned a hair brained scheme: a sort of hyper-purist, pseudo-lambic beer. Here's more on that topic. The idea, which I've been batting around since a good while before the previous post, is to do a beer full of buzzwords. Vegan, Organic, Reinheitsgebot compliant, lambic and to a certain extent, vertically integrated. That's vertically integrated not to the extent of distribution, but to the extent of ingredients. And yes, that means grain fields. The beer would be lambic to the extent that pollen would be introduced through louvred walls in the brewery. Needless to say, it's likely to never happen, or to take a pretty long time if it does actually see the light of day. In the meantime, I'm playing to my strengths. It has a name (Mertgart) and a logo (below). Colour variations of the logo are shown. I'm still not sure which one I like.

Seaplane

Today, a somewhat clip art-y seaplane. A little late in the day, but better late than never.

Disembodied dress 4

Another dress sans wearer.

Disembodied dress 3

Continuing the series of disembodied dresses, here's the aptly named Disembodied Dress 3.

Disembodied dress 2

I started this one last Wednesday and then got side tracked. All told, I think it still comes in under twenty minutes.

Disembodied dress

I think it's going to be a week of garments.

Pistachio pattern

Much enamoured of the pistachio I drew earlier, I've made it into a pattern. After all, you seldom see a single pistachio on its own.

Postcards and Coping Mechanisms, on Etsy

In the aftermath of Expozine, it turns out that I have some quite excellent overstock. Copies of Coping Mechanisms for the Young and Ambitious, as well as some fine postcards, are now available for your perusing and purchasing pleasure, on my Etsy page.

Mall brands for hipsters

I had a bit of a revelation this morning. As we know, purist hipsters, by nature, eschew anything particularly popular or common. They favour, instead, the obscure and unique. This is why they can be spotted at craft fairs and seconds hand stores. This means that hipsters must take precautions to avoid mall brand clothing, clothing from popular, mainstream retailers.

But what if a hipster, for some reason, finds him/herself desiring, for whatever reason, a mall brand garment? Purchasing something common and popular goes against the grain. In order to maintain status, the purchase must be hidden or downplayed. But there is a solution.

Most manufacturers maintain outlet stores. These outlet stores are stocked with leftovers, unsuccessful garments, items from previous seasons and the holy grail: samples. Samples fit the hipster bill beautifully. They're generally one of a kind, or at least incredibly uncommon. They have entertaining idiosyncrasies. They epitomize process and experimentation. Most importantly, they cannot be found in malls. Thus, a hipster with the desire to purchase mall brand clothes may safely wear samples, secure in the knowledge that the garment is not only unique, but also has a story (however short) to go with it.

Postcards

Just got a load of postcards back from the printer. I, for one, am pretty happy with them. They'll be making an appearance this weekend at Expozine. There's a pigeon, a hightop running shoe, the island of Montreal and Jean Drapeau. Not necessarily in that order.

Student Occupational Hazard Icons

A series of graphics detailing some of the occupational hazards involved in getting a university education:

The results of excess partying on a week night.

The high risk of silly hats involved in excess party, any day of the week.

The crash that comes along with all-night study sessions.

Learn About Things I Know About

My traditional end-of-summer zine development time has come around again. This year, I think I've come up with quite a good idea. I'm working on a little imprint of zine books. They're going to be 5.5"x8.5" and either staple bound or sewn, between 20 and 40 pages each. And they're going to be accessible, understandable non-fiction. They're going to explain things to people who don't know about them. But they won't talk down to readers. I'm talking about literate, clever book zines for literate, clever people. The point is to broaden horizons and give people a comprehensive look at something they didn't know about already. The first one, about Open Source (cover pictured below) is underway. I'm also thinking of tapping someone to do one on gender. Expect to see these with me at Expozine 2009, whenever it rolls around.

Libre Graphics Meeting 2010 venue

Here's some exciting news: the city for Libre Graphics Meeting 2010 has been announced. According to the good folks at Open Source Publishing (who will be hosting the event), it's going to go down next May in Brussels. They have a very nice press release that deserves wide diffusion.

A troubled bridge over water

Here's a problem for which I don't yet have a solution. There's a wonderful canal in Montreal called the Lachine. About 20 years ago, Parks Canada took over its management, cleaned it up, built footbridges over it and built a park and bike path next to it. It has one particularly problematic footbridge. It's at the end of Atwater Ave., near Atwater Market. It's a very narrow bridge with little signs on each end telling cyclists to dismount before crossing. Of course, given its proximity to the market and several other attractions, it gets a lot of traffic. The traffic is mixed. There are pedestrians of all ages, cyclists and even tourists on the little electric scooters that can be rented at some of the shops along the canal.

What's the problem? The bridge is wide enough to accomodate two directions of pedestrian traffic. Even so, it gets cramped. The majority of cyclists, who are progressing at speed along the bike path, apparently want to get across the bridge and onto the next path as quickly as possible. All of this means that very few cyclists obey the sign and dismount. The cyclists speeding across the bridge pose a threat to pedestrians. Even worse, the renters of electric scooters don't dismount either. Their vehicles are heavier, faster and take up more space than those of the cyclists. So, because very few people obey the sign, the bridge becomes congested and dangerous.

I've thought up a few solutions to this, but none of them are sustainable. There's the citizen action approach. I could start personally mentioning to cyclists, whenever I happen to be crossing the bridge, that there is a sign telling them to dismount. But that doesn't work because I don't cross that bridge nearly enough to make a tangible difference. Then, there are institutional approaches. They could get bigger signs, although I really don't think that would work. They could install speed bumps, but that might not properly discourage all cyclists, might cause injury to some, and would inconvenience everyone.

Basically, I'm stumped. I can isolate the problem and even explain why it is actually a problem (and not just me being grumpy) but I can't figure out a good, sensible solution.

Two bits about tactility

I've had the relationship between tactility and design/creativity on my mind lately (see: Tactile interfaces for digital making). And of course, when I get to thinking about something, I find that I start seeing it everywhere. This week, I've seen two interesting things relating to tactility: one an article, the other an event (both via BoingBoing)

The Case for Working With Your Hands is a thoroughly thoughtful and thought provoking article in The New York Times Magazine. I found that it really highlights some of the issues of working in a knowledge economy, namely lack of self-determination and tangible feedback. The feedback issue is, of course, one of the important cases for tactility.

Next, at Internet Week New York, there's going to be a tangible interfaces hackday. This is a good thing. I can't wait to see what clever new ideas for interfaces come out of it.

Tactile interfaces for digital making

I've got a problem. I've had a lifelong obsession with building things by hand. I love the sensation of seeing something come to life through my efforts. In physical making, there's a certain amount of feedback and consequence. I actually enjoy having to clean the ink out from under my fingernails after screen printing. These days, however, the majority of my work is digital, with very few protrusions into the physical world and with little to no non-digital making. That's gotten me thinking.

I'm planning my day. On my to-do list, I've put the words "update website." I know that I have a meeting later that I'll have to drag myself away from my work to attend. Here's the problem: when I'm only working digitally, it doesn't feel as if I'm actually pulling myself away from anything. The majority of my life, work and leisure time involves interfacing with a screen. Fixing my website doesn't feel like an engrossing task. There isn't a feeling of immersing myself in one thing, mainly because I'm not. I know that in the browser I have open to test my changes, I'll also have tabs going for email and Twitter. I also know that when I leave to go to my meeting, there won't be any tidying up to do. I'll just have to fold down the laptop and go.

It may seem absurd, but I want a way for my digital activities to be a little more demanding. I want to actually need to concentrate and prepare. I want the little rituals that come along with more physical forms of making. I mark things on a physical to-do list because stroking out an entry with a marker feels more satisfying than just clicking on a box. I keep a drawing board because some things are better sketched out by hand than drawn on a computer. How can I make my digital activities more tactile, beyond the standard idea of drawing with a tablet? Why can't I hook a block of clay up to a 3D modeling program and work with hands and knife? And, the big question: what's the tactile analogue of a natively digital activity like web design?

Montreal Metro Map Circa 2032

One of my ongoing projects: imagining what Montreal's Metro system will look like in the future. Here's my fictitious 2032 Metro map, as released by the equally fictitious Societe de Transport du Quebec. (If you care to look at more fictitious future history, I collaborated on an article a couple months back about Montreal 2032, which you can read here.)

ginger coons on Open Clip Art Library

Acting on some sage advice from the comments section, I've started putting the svg files of some of my work into the Open Clip Art Library. This means that you can now download infinitely scalable versions of such classics as baby giraffe and hipster shoes.
I'll be putting more up as I get the chance.

Open Colour Standard properganda

Something from the Open Colour Standard project that I feel is worth cross-posting here: my ever so lovely OCS properganda (not propaganda) poster. It sells Open Source graphics programs the easy way: by explaining how cheap they are compared to the proprietary stuff. Enjoy.

EDIT (12 May 2009): Here's a new version of the poster with better kerning. And I'm replacing the downloadable one on the OCS website with this newer, more correct version.

OCS

There's a great big project that's been occupying my time for the last few months. I'm doing the preliminary work on the development of an Open Colour Standard (previously mentioned on this blog as OCI). The idea is to give Pantone a bit of a run for its money in the colour matching business. I think this is an area where community involvement and openness would be a huge asset. In the spirit of "release early, release often," here's a link to what I've been working on. At the moment, it updates far more regularly than this blog does.

Building an Open Colour Standard

White tissue boxes

I had a cold recently. The box of tissue is still on my table. It doesn't match the rest of my kitchen or even look interesting. Being the customizing sort, an idea has occurred to me: white tissue boxes made of uncoated cardboard. A white tissue box with a slightly less slick texture would make an ideal canvas. Ship them with crayons and you've got the perfect sick day activity.

Hipster Shoes Mk II

An updated version of my clipart-y shoes:

Books for walls

For several months, my living room has looked like a disaster, thanks to a particularly nasty shade of red on the walls. I'm not keen on painting a small room in a colour dark enough to cover the red. That means that my only real option is wallpaper. But wallpaper is expensive. Solution? Cover the walls in the pages of cheap, second hand teeny bopper romance novels. Six books (that's roughly 1200 pages) and 2L of podge later, two out of four walls are done. Once all four walls are done, up go the shelves and on with the books that are more for reading than tearing apart.

eWaste iWaste

Yet more illustration backlog. Reasonably self explanatory title. Two page graphic for a feature article about ewaste.

Insta-rugged bulletin board

More in my crusade to spruce up the blank walls in my hallway: I came back from Expozine this year with lots of things that desperately wanted to be pinned to a bulletin board. Real cork boards are, of course, too expensive. Padded, fabric covered boards are far too fussy for my tastes. Solution: Rip a box apart. Corrugated cardboard has a nice, industrial look to it. Nail some strips to the wall and bam! Insta-rugged bulletin board.

A Manifesto Stub

Everyone needs access to information, not just those of us with good vision, full mobility, high level language skills and shiny new computers.

Cartoonoculars!

Observe phase one of a super exciting project I'm working on: A nice pair of binoculars. They're proof positive that I can actually do things that look clean.

Tetrisland

I'm currently working on turning old video games into 3D environments. Eventually, once I figure out the game engine in Blender, the environments are going to be populated in a rather interesting way. Details on that later. For now, I present to you Tetrisland: Dark, forbidding, the cheery blocks denying the seedy underside of this impersonal, cookie cutter, sky scraper town. Ominous enough?

Notebook skirt

I dreamed this idea a couple nights ago: a skirt made almost entirely of those colourful, spiral bound notebooks. I say almost because it would need some sort of structure to hold the books together, as well as a waistband. It would, of course, be horrendously uncomfortable, but I'm really picturing it as more of an art piece than an actual garment.

Scribble Chair

Below is a chair that's been in progress for two years. It's my ever so exciting scribble chair. It gets drawn on whenever I'm feeling bored. I'm hoping that one day, there won't be any white visible and the whole thing will be a mass of sketches and scribbles.

OCI logo revisited

The OCI logo I was so pleased with yesterday has been replaced by the OCI logo that I prefer today. Behold! Progress! Magenta progress, in fact.
I think this one looks far more dynamic.

A very dapper decal

Forthcoming: a decal depicting this man. I can't decide yet whether he should retain his line art glory or become a solid silhouette. Thoughts? Suggestions?

Sketch people

I'm in a real silhouettes of people mood right now. That's a good thing, because I'm supposed to be doing some sketchy drawings of people for a conference. So, here's draft one of some sketchy purple people. While they aren't strictly silhouettes, they fulfill my urge to draw un-detailed people.

Unbranded grocery stores

Assumptions: Food is a necessity. Without food, human beings can't live. Most people do not have easy access to farmer's markets or community shared agriculture schemes. Most North Americans shop in supermarkets.

Observations: It's impossible to look anywhere in a grocery store without seeing invasive brand messages. Okay, that last sentence was a tiny exaggeration. The ceiling is almost always free of brand messages and in most cases, so is the floor. The remainder, on the other hand, is generally quite thoroughly visually cluttered.

Solution: There needs to be a completely unbranded grocery store. I don't mean that there needs to be a store that sells only their own brand of food. I mean packaged goods in the unbranded store need to be blank except for the name of the food, the country of provenance, the nutritional information and the ingredients.

Think: Many of the necessary foods can already be found brand-free. Vegetables and fruits, more often than not, aren't branded (although there seems to be a trend towards branding them). Some stores have bulk sections which allow for the purchase of ingredients like flour that aren't branded.

Implementation: The unbranded grocery store needs to take advantage of the existing private label infrastructure. In the same way that Loblaw has food sold under its own name, the unbranded grocery store can implement a private label brand. The only difference is that this brand isn't a brand. It is instead the complete absence of a brand. Of course, it also makes a kind of good business sense to stock a store entirely with private label products. Margins are higher on private label than on national brands and prices can be lower.

Of course, the store would be a promotional disaster. Many consumers take comfort in familiar brands. A store that offered a reprieve from visual noise might not be widely welcomed, even if the prices were lower. But, just at this moment, having grown tired of too much visual clutter in supermarkets, I'd jump at the chance to shop at an unbranded grocery store.

OCI logo

I've been building iterations of a logo for a semi-secret project that I'm calling the Open Colour Institute. You can guess what the project actually is, if you want. The important thing at this point is that I've come up with a logo that I think I like. And here it is.

The Illustrated Cinderella

I'm working on a project right now called the Illustrated Cinderella. I'm using the original Grimm text and doing decoupage illustrations from public domain images. I'm hoping to get the project finished in the next month, in time for a debut at Expozine. In the interim, here are some of the things I'm working on.

The SPCC

There's a half funny, half serious idea I've been kicking around for the last few months. It's called the SPCC, or the Society for the Prevention of Cruelty to Creatives. The idea is twofold:

Part one of the SPCC is a helpline for bored and abused creatives. You're a designer who gets stuck cropping and resizing all day? Call and talk it over. Copy writer stuck with unreasonable deadlines and unresponsive superiors? Call the helpline and strategize. This half of the idea is quite similar to Designphone, an idea I blogged about last March. The main difference is that it would have a mandate beyond just serving designers and would instead be there for creatives of all types. It's part two that gets interesting.

Part two is basically a home for bored and misused creatives. Essentially, it's a retreat for creatives who just can't take it anymore. It would essentially be a sanctuary full of free time, other creative people, and the resources necessary to carry out personal projects. Creatives would be able to come down for a break from the monotony of doing boring, not terribly creative, creative work. It would also offer workshop retreats for open-minded management who would either like to reward their creatives with a break or learn how to be a little more creative themselves. Naturally, corporate rates would be rather different from the rates charged to individual creatives. Proceeds from corporate retreats would go to funding project scholarships for creatives with ennui.

The Society for the Prevention of Cruelty to Creatives: like that SPCA, only instead of saving animals, supporting commercial artists of all kinds.

An interesting range of tables

I'd like to produce a range of tables with entertaining names and characteristics. The tables would have names like:
Uns
Irrisis
Indomi
Vege
Unsui

And so on... Do feel free to name more tables in the comments.

Fork bookmark

Idea: Make bookmarks out of cheap cutlery. Cheap stainless steel cutlery is thin and easy to manipulate. Just hammer the curves out of a fork or spoon and you have a handy, awesome bookmark. Pictures when I make one.

A flock of pigeon stickers

New! Exciting! A variety of hand made vinyl pigeon stickers.

Ornamental humidifiers

Problem: My office is spectacularly dry in the winter. Dry air means dry skin and eyes. Dry skin means excessive use of hand cream. Dry eyes mean discomfort when staring at computer screens. Standard humidifiers are a hassle, and they look ugly, too.

Solution: To introduce more moisture into dry rooms, I've decided I need to build an ornamental humidifier. First, picture one of those little tranquility fountain things. You know, the tiny fountains that you plug into the wall and fill with water? So, take the fountain of your choice and introduce some heat into the works (I'm not quite sure how, yet, but maybe with some sort of well-shielded heating coil or something). Heat plus water equals vapour. Ta da! Something that looks less institutional and appliance-y than a humidifier but serves much the same purpose.

EDIT: Curses! It's been done already.

Sketchy animal stickers

Behold! I'm gearing up for Expozine 2008 by making some shiny new sticker/decal things.