If you’ve ever wondered why the numeric keys on a calculator resemble those on a phone (in the U.S. anyhow), but inexplicably backwards with the 7-8-9 at the top, or if you just like looking at old mechanical cash registers and other button-based devices, here’s an excellent read for you! Time to go dust off my own Burroughs Class 3…
For me, the most interesting details are about how much they considered the need for abstraction to make the game successful — so much of the game is modeled on reality but very carefully distilled into primitive shapes and textures (despite the capabilities of newer hardware) for aesthetic purposes but also to help the player inject their own memories and feelings into the experience:
In this way, the degree of symbolization is selected according to the role in the game. However, reducing the amount of information by symbolization can be considered as discarding the amount of information. Regarding this, Mr. Takahashi said, “I think there are many artists who hesitate to reduce the amount of information in images on high-resolution screens. So why can we confidently throw away information?” I don’t think that the amount of information in the picture will decrease and the response will be lost, but I think that it creates an “imaginary gap”. ”
By having an imaginary gap, the user tries to fill the gap by recalling information from his or her memory. And by projecting one’s thoughts on it, it will lead to creating goals and motives for play.
The article also explores the ways that the game has very intentionally placed “play triggers” pretty much everywhere except for the sky (where you even have balloons to shoot down from time to time), as well as an emphasis on leading the player to desire communication while playing. There’s a lot going on below the surface of Animal Crossing!
PS: for the fans of the series, there are quite a few shots of development versions of the game — always interesting to see how the designs progressed from earlier prototypes.
I recently finished Jan Tschichold’s Treasury of Alphabets and Lettering (1952), an incredible gallery of historical typographic examples alongside acerbic and insightful commentary by Tschichold, and this passage about storefront signs has popped into my head whenever driving by any given strip mall:
In selecting a letter for a given task, beauty is not the only factor. The letter must also be appropriate to its purpose and surroundings. Most important, a distinction must be made between lettering that is to serve for a long period of time and lettering which is to serve only briefly. Frequently, we see lettering in architecture which, due to its flighty and cursive character, is suitable only for temporary and cheap signs. Many store front inscriptions, often executed in metal or neon lights, belong to the category of imitation brush lettering which is alien to their purpose. These are not only generally hard to read, but also often lack the spontaneous, fresh form which only a master can give them after long practice. They are lame, warped, and miserable. That which one is unprepared to do but insists on doing becomes trashy. And this trash despoils our cities today at every turn. Such pap-like brush lettering on our store fronts is out of place and poorly done. Store front lettering is an architecture, since it is a part of the building. It is destined for a long duration, often for decades, and should, therefore, always be correct, noble and beautiful. It is a waste of money to cast such pseudo brush lettering in expensive metal; it must be replaced in a few years as it becomes obsolete and visually offensive to everybody.
This kind of lettering is either the result of the client’s “design” or conceived by incompetents who should choose another profession.
[…]
Store and building signs are necessary, but they need not result in the evil they have become.
Type-design is not exclusively a matter of aesthetics but, to a large extent, of understanding the technical conditions in which the letter-forms are built up; and a typeface is successful when it is properly at the service of a strict conformity with the material and with progressive techniques.
From the files of things I don’t know much about: best practices for Japanese web typography, a nice short primer. Web fonts are problematic enough in the West, and we don’t even have the character set troubles introduced by having multiple alphabets, the huge glyph set and calligraphic history of kanji, the need to be interspersed with Latin characters and ruby characters…
One thing of note is that none of them express the golden ratio, that so-called best of proportions. 5:8 comes quite close but, as far as I’m aware, no web device matches the golden section in its screen aspect ratio. I’m not sure why that is, but I like to think that it’s because the golden ratio is for the weak. … The musical interval ratios also provide an opportunity, not only to create connectedness between the parts of a layout, but to bind the content to a device. Just as a textblock and page resonate together, so too can web content and the screen on which it is displayed.
Owen Gregory (@fullcreammilk) on musical intervals, device aspect ratios, and how we should be seeking these harmonies when designing for the web as a responsive medium. A good read. And I like the jab at the golden ratio.
Game designer Brian Moriarty delivered quite a talk at the 1997 Game Developers Conference, touching on everything from interaction design, emergent play, community-created art, creativity, self expression, and even an unexpected but interesting tangent about 101 Dalmatians. In hindsight, many of subjects he talks about would become evident over the next decade, from the Sims to Etsy to Minecraft to social networking. From Listen! The Potential of Shared Hallucinations:
Before we can learn, before we can grow, we have to be prepared to listen.
What does it mean, to listen?
The word is commonly understood to mean “attentive hearing.”
It has its etymological origin in the archaic verb, list.
“List!” they used to say. “Ssh! List! The wild boar is outside!”
But the verb “list” also means to tilt something to one side.
When a sea vessel leans to starboard or port, it is said to be listing.
So how did the word “list” turn into the verb “listen?”
Because when we try to hear something, we sometimes cock our heads in the direction of the sound.
So to listen means more than to hear attentively.
The word also implies a change of inclination.
A new slant.
To listen is to put ourselves into a receptive attitude.
A position to be re-aligned.
Also worth reading (the talk is also available for watching as a video in the GDC Vault) if you fondly remember the days of Hypercard, MUDs, and when text adventures reigned supreme on AOL, or if you like crazy 1990s Photoshop anaglyphs…
What I learned from architectural drafting is that everything has to have a plan to work. You just can’t wing it. I can’t get all the materials I need for a house and just start building.
Whether it’s a career, family, life — you have to plan it out.
Fun with kerning! I don’t 100% agree with all of their solutions (they do let you share your version in protest, at least!), but it’s a entertaining five-minute distraction if you’re a designer or type-friend, and the interface is slick.
(Via pretty much every design blog and Twitter user this week…)
As the Make post says, this 3D-printable model of Captain Picard’s teacup would be a good benchmark for the nascent fabrication technology (the image on the right is a photo of the original Star Trek prop, which was just an off-the-shelf Bodum teacup). That it could be seen as a sly progression from the famous Utah teapot I think makes it an especially worthy benchmark!
I’ve wondered where the idea of music albums as discrete packaged works of art came from, and now I know. From the New York Times: Alex Steinweiss, Originator of Artistic Album Covers, Dies at 94
“The way records were sold was ridiculous,” Mr. Steinweiss said in a 1990 interview. “The covers were brown, tan or green paper. They were not attractive, and lacked sales appeal.” Despite concern about the added costs, he was given the approval to come up with original cover designs.
His first cover, for a collection of Rodgers and Hart songs performed by an orchestra, showed a high-contrast photo of a theater marquee with the title in lights. The new packaging concept was a success: Newsweek reported that sales of Bruno Walter’s recording of Beethoven’s “Eroica” symphony increased ninefold when the album cover was illustrated.
Mr. Steinweiss also created a distinctive handwriting script that he used on many of his album covers, which came to be known as the Steinweiss Scrawl (recently resurrected as the font Steinweiss Script by designer Michael Doret).
Mr. Steinweiss said he was destined to be a commercial artist. In high school he marveled at his classmates who “could take a brush, dip it in some paint and make letters,” he recalled. “So I said to myself, if some day I could become a good sign painter, that would be terrific!“
More good information about his career and innovations (including diagrams of his LP packaging) are available on this page about his work for the Remington record label.
Poka-yoke (ポカヨケ) is a Japanese term that means “fail-safing” or “mistake-proofing”. A poka-yoke is any mechanism in a lean manufacturing process that helps an equipment operator avoid (yokeru) mistakes (poka). Its purpose is to eliminate product defects by preventing, correcting, or drawing attention to human errors as they occur.
Not just handy for manufacturing processes, this idea applies very easily to any kind of designed object. How can we make what we design not only easy to use, but as difficult as possible to mis-use? (It’s worth noting that this principle was originally described as baka-yoke, i.e. idiot-proof, unfairly placing the blame on the user instead of the design)
“Simple trumps complete” – a 5% feature (used by less than 5% of all users) is a distraction for all the other users, and is better removed, unless its really critical (a small number of users do need to cancel service, for example).
I have this mental model of particles of attention that a user brings, a finite quantity that they will spread around according to what catches their attention. I call them “attentrons”. An extra tab or button will attract a bunch of attentrons that are not then available to focus on other areas. So the tab had better be *better* than the competing areas of the site to avoid diluting the results, or it’s better off removed.
The handsome logo for Segagaga, one of my absolute favorite video game concepts: you run a fantasy RPG version of Sega, the ailing game console company, fending off rival electronics behemoth SonyDOGMA (at the time, the Sega Dreamcast was facing its untimely demise). A surrealist, sarcastic, postmodern metafiction of the Japanese game industry from the inside, satire on a shoestring budget with a bit of loving apology for what was about to happen with Sega and the business in general.
“The Japanese bubble burst in 1993 – that was the start of the recession and the economic downturn. At the very same time, the gaming industry was keeping going just as if it was the boom time. In 1999, it was becoming clear that the boom was fading fast for the industry. Coincidentally, we were making SGGG at this very turning point. Near the end of the game, the hero is fired because his company closes, and he finds refuge in a game store near Sega that actually existed! The store manager is Alex Kidd – he was also fired from Sega, when Sonic arrived. The message to the hero is that no matter how bad things look, there is no point in crying over the industry. You have to carry on – just like Alex Kidd, who is working hard.“
This film explores playful uses for the increasingly ubiquitous ‘glowing rectangles’ that inhabit the world.
We use photographic and animation techniques that were developed to draw moving 3-dimensional typography and objects with an iPad. In dark environments, we play movies on the surface of the iPad that extrude 3-d light forms as they move through the exposure. Multiple exposures with slightly different movies make up the stop-frame animation.
We’ve collected some of the best images from the project and made a book of them you can buy: http://bit.ly/mfmbook
Read more at the Dentsu London blog:
http://www.dentsulondon.com/blog/2010/09/14/light-painting/
and at the BERG blog:
http://berglondon.com/blog/2010/09/14/magic-ipad-light-painting/
We use photographic and animation techniques that were developed to draw moving 3-dimensional typography and objects with an iPad. In dark environments, we play movies on the surface of the iPad that extrude 3-d light forms as they move through the exposure. Multiple exposures with slightly different movies make up the stop-frame animation.
Excellent use of AR for marketing: an in-store display that’s actually fun to play with, and it makes you pick up the box in order to see it come alive. Nice.
PowerPoint makes us stupid. It’s dangerous because it can create the illusion of understanding and the illusion of control. […] Some problems in the world are not bullet-izable.
Whenever humans design and make a useful thing they invariably expend a good deal of unnecessary and easily avoidable work on it which contributes nothing to its usefulness. Look, for instance, at the ceiling. It is flat. It would have been easier not to have made it flat. Its being flat does not make you any warmer or the room about you any quieter, nor yet does it make the house any cheaper; far from it. Since there is a snobbism in these things flattening a ceiling is called workmanship, or mere craftsmanship; while painting gods on it or putting knobs on it is called art or design. But all these activities: ‘workmanship,’ ‘design for appearance,’ ‘decoration,’ ‘ornament,’ ‘applied art,’ ‘embellishment,’ or what you will are part of the same pattern of behavior which all men at all times and places have followed: doing useless work on useful things. If we did not behave after this pattern our life would indeed by poor, nasty and brutish.
If you’re the sort of lab that’s engineering a method of printing ceramic materials using rapid prototyping machines, I suppose it’d make sense that you’d already have made some real-life polygonal Utah teapots! I never thought about it before, but for the 3D graphics humor value I really, really want one of these now. You can read about the Utanalog project and see finished photos (and a video explaining the whole thing) over on the Unfold blog.
A very nice animated spot for the BBC coverage of the Winter Olympics directed by Studio AKA’s Marc Craste, co-directed by Jon Klassen (aka Burst of Beaden, where you can read more about the video). I wish our tv spots looked more like this.
The proprietary 8-bit processors that powered Atari’s home consoles are being resurrected by the Atari History Museum’s Curt Vendel. He’s rebuilding each chip from the fabrication specification data detailed in the original tape-outs he has in his possession, and hopes to be able to crank out brand new replacement chips (the originals have been unavailable to the enthusiast market for years). This looks to my non-engineer eyes like an impressive feat of reverse engineering and history gathering! If nothing else, one can appreciate the high-res circuit scans he’s posted in the discussion thread.
Besuboru Bromides, John Gall’s beautiful collection of Japanese baseball card bromide prints (ブロマイド). The full set can be found on his Flickr account, along with a billion other great graphic arts images. I think I need to trawl through his whole photoset now, and pick up his book Sayonara Home Run!…
Dreaming the Industrial Body. I’m not sure that I’m following the info that they’re trying to convey about the sun’s effects on our bodies, but it’s definitely an eye-catching image as far as medical literature goes. From Der mensch gesund und krank [The Healthy and Sick Human], menschenkunde 1940 … . Vol. 2, displayed as part of the National Library of Medicine’s Dream Anatomy exhibit. Speaking of which, check out their cool children’s art page!
The American Society of Media Photographers has a new resource up for people working with digital images: dpBestflow rounds up the best practices and workflows for digital photography, in neat, easy-to-digest pieces, with tips on subjects ranging from camera file formats to desktop hardware to room lighting. If you look at their handy Quick Reference overview, be sure to note that each bullet point links to a more in-depth piece if you’re interesting in drilling down for more info…
Oh my, yes. The Firefox team has an experimental specification for making use of the advanced features of OpenType and AAT, possibly through the CSS @font-variant property. This could get hairy rather quickly and I have to imagine it’d be tricky to write out the full description by hand, but the typographical goodness would be hard to pass up. Be sure to check out the hack.mozilla.org page about this to see some nice preview images.
Typophile user Miha is doing some awesome sub-pixel typography experimentation for making tiny text sharper (at least on LCD screens with RGB ordering – sorry CRT holdouts!). It’s this kind of hand-rendering and tailoring that makes this work craft, in the best sense of the word. Drawing out a legible, full alphabet with an x-height of 3 pixels? Impressive.
The Xerox Star 8010 OS, an early GUI from 1981. I wish my desktop looked a bit more like this today. More interface awesomeness from this system on the DigiBarn Computer Museum site.
I hate to steal links from the Make blog multiple times in a single day, but this is another one that’s hard to pass up. French product/industrial designer Aïssa Logerot created an LED-tipped fake spray can for doing a bit of light (photo) graffiti. Even better, the battery can be recharged by shaking the can. Genius.
Rhonda. It’s a nifty 3D drawing/sketching app that’s been making the rounds for a few years, and now the video of its creator sketching with it has finally been posted on the web. Even better: it’s been ported to openFrameworks and is being actively maintained on a number of platforms.
A thorough set of the indentity bumpers from Nick at Nite, circa 1991. Kind of surreal (and tedious) watching these back to back, but it’s amazing how many of them I remember, and how many were done by well-known animators. This is where things were at in the early 90’s NYC animation trade. A number of these folks would later be rounded up in Atlanta to help create Cartoon Network. Sadly, all of these cable channels seem to have lost their sense of purpose, with Nick at Nite now showing ‘retro’ shows like “Just Shoot Me”, TV Land focusing on reality programming, and Cartoon Network becoming a dumping ground for kid’s live-action.
Steam is gathering behind the open font / redistributable typeface movement, which will hopefully usher in some better typography options on the web. Arguments abound as to whether letting designers use whatever font they want on the web is a good thing, and the situation’s been moving at a snails pace for years due to the reluctance of both the font foundries and the browser makers, so it’s good to see actual, workable options on the horizon. Here are a handful of recent projects, all of which seek to ameliorate the licensing issues inherent in the use of embedded fonts:
I’d been wondering what those thinly-etched or embossed porcelain “hidden images” found on antique plates and teacups were called: lithophanes. Artists would carve molds for them using warm wax over a glass plate, with a mirror to reflect light from a window underneath so they could get a preview of their work. A translucent bas relief, with the subtle grisaille quality of a lithograph.
Wow, a surprisingly faithful version of the incredible Eric Chahi game Another World (aka Out of this World) recreated using Little Big Planet on the PS3. The only thing that would have made it better is if LBP let the creator script along your alien buddy.