在Aquí,我们对咖啡非常讲究。你可以放心,我们在设计方面也是一样的。作为狂热的咖啡饮用者,我们经常会问:"你喜欢喝什么样的咖啡?"而作为一家设计公司,我们喜欢问,"你喜欢什么样的设计?" Joe是我们--#TeamAquí--分享我们的设计灵感的一个博客。
作为我们的内容经理,更新我们的社交媒体,于婷有时发现自己掉进了数字黑洞,无法爬回她曾经熟悉的现实。好吧,这是一个夸张的说法,但她确实表示,她可能已经忘记了如何在不进入Netflix或Instagram的情况下获得乐趣。于婷是在发现一个装置 后表达的,这个装置是 "游戏年 "系列展览的一部分,探讨了数字世界中身体互动的重要性。
这种体验的特殊之处在于,灯光和音乐的设计是为了吸引不同类型的感官。为了完全沉浸在这种体验中,人们被迫做最真实的自己,这让我们想起没有智能手机争夺我们注意力的时代。这是用技术来提醒我们在技术之前的时代。
洗衣服并不觉得是件苦差事--它就是一件苦差事。我们大多数人都没有真正的意图或动机去洗衣服。我们这样做是为了明天有东西可以穿去上班。相反,玛丽亚却喜欢洗衣服。本周,她向我们介绍了她所见过的看起来最诱人的洗衣店,这个洗衣店可能会让她千里迢迢来到纽约只是为了洗衣服。
THE WASH是你友好的邻家洗衣店,旨在重塑洗衣店的体验。他们的品牌由Verena Michelitsch设计,创造了一个非常积极和现代的外观,这对洗衣店来说是不寻常的,因为它们有一个破旧和不吸引人的声誉。即使是图标设计也采用了运动和纹理,这使得说明看起来更容易消化。字母在标志中的排列方式使它看起来几乎像是在翻滚的运动中--就像衣服在洗衣机中时的情况。它们可能看起来是微妙的细节,但它们是使你的洗衣店体验更愉快的细节。
"我在学习时曾使用过洗衣店。它们通常都很丑陋,我从来没有真正期待过在那里洗衣服。设计有能力影响我们的日常决定--甚至是家务事,这真是令人惊讶。"玛丽亚告诉我们,她仍然对THE WASH的品牌设计感到敬畏。
当我们都睡着了,我们会去哪里?好吧,本周,伊夫林将走进芬尼厄斯-奥康纳的生活(这听起来一点都不奇怪)。如果你还不知道奥康纳是谁,他是一位创作型歌手、唱片制作人,也是最有名的歌手比莉-艾利什的哥哥。
Evelyn第一次发现Finneas是在Jimmy Fallon的节目中,他在节目中透露了制作格莱美年度专辑的曲目的声音。艾芙琳对他产生了所谓的好感,她想了解更多关于他的情况,以及他和埃利希作为兄弟姐妹和共同创作人之间的动态。
看了《坏家伙》这首歌的细目--这首歌有超过10亿的流量--并意识到它不是由一个巨大的制作团队制作的,这让我们大跌眼镜。艾芙琳对这对兄妹二人为创作和制作一首歌所付出的努力真的很感兴趣。
了解任何创意的创作过程总是有意义的,因为它们对个人来说总是非常独特。对于Finneas和Billie来说,这个过程感觉非常朴实和有机。甚至当涉及到设备时,Finneas提到,他所需要的只是他的小工具箱,里面有录音的必需品,还有他的笔记本电脑用于制作。
"有时候,这真的不是关于工具,而是更多关于工艺,"伊夫林强调说。
本周,阿克拉姆受到启发,分享了他最喜欢的一位女老板。娜塔莎-詹 "是一个设计师,一个思想家,一个制造者,一个教育家,也是五角大楼的合伙人"。看过她的许多讲座,阿克拉姆说,她的设计原则总是非常简单明了,他喜欢她在设计中处理问题的方式。
其中一个真正展示了Jen解决问题的方法的知名项目是OfficeUS。2014年,Pentagram被要求为他们设计一个图形识别。作为威尼斯建筑双年展的一部分,OfficeUS是一个活跃的工作空间,由两百个不同的公司重新创造了一千个关键的建筑项目,这意味着品牌准则要经过很多人的手。听到项目简介后,很明显,有很多东西需要Jen去思考。但是,在她的团队的帮助下,他们成功地提供了一个多功能的识别系统,其中有两种世界上最受欢迎的字体:Arial和Times New Roman。
"Sometimes when we’re under tremendous pressure and (facing) a lot of constraints on resources, we don’t actually have the luxury to go through the typical process. We just only need to identify a couple of most important things and just go with them." — Natasha Jen
在Aquí,我们对咖啡非常讲究。你可以放心,我们在设计方面也是一样的。作为狂热的咖啡饮用者,我们经常会问:"你喜欢喝什么样的咖啡?"而作为一家设计公司,我们喜欢问,"你喜欢什么样的设计?" Joe是我们--#TeamAquí--分享我们的设计灵感的一个博客。
As our content manager updates our social media, Yu Ting sometimes finds herself falling into the digital black hole, unable to crawl back up into the reality that she once knew. Okay, that is an exaggeration, but she did, however, express that she might have forgotten how to have fun without going onto Netflix or Instagram. Yu Ting expressed this after she discovered an installation that is part of the Year of Play exhibition series that explores the importance of physical interaction in a digital world.
What is so special about this experience is that the lighting and music are designed to engage the different types of senses. To be fully immersed in the experience, people are forced to be their most present selves, which reminds us of the times where there were no smartphones vying for our attention. It is the use of technology to remind us of a time before technology.
Doing laundry does not feel like a chore - it is a chore. Most of us have no genuine intentions or motivations to do the laundry. We do it so that we would have something to wear to work tomorrow. Maria, on the contrary, loves doing laundry. This week, she presents to us the most inviting-looking laundromat that she has ever seen, one that might make her travel all the way to New York just to do her laundry.
THE WASH is your friendly neighbourhood laundromat that aims to reinvent the laundromat experience. Their branding, designed by Verena Michelitsch, creates a very positive and contemporary look which is unusual for laundromats as they have a reputation for being run-down and unattractive. Even the iconography design plays with movement and texture, which makes the instructions look a lot easier to digest. The way the letters have been laid out in the logo makes it look almost as if it was in a tumbling motion - like how it is when the laundry is in the washing machine. They may seem like subtle details, but they are details that count in making your laundromat experience a more pleasant one.
“I’ve used laundromats when I was studying. They were usually ugly and I never really looked forward to doing my laundry there. It’s amazing how design has the power to influence our daily decisions - even chores,” Maria tells us while still in awe of THE WASH’s branding.
When We All Fall Asleep, Where Do We Go? Well, this week, Evelyn goes into the life of Finneas O’Connell (this does not sound weird at all). If you do not already know who O’Connell is, he is a singer-songwriter, record producer, and also most famously known as the brother to singer Billie Eilish.
Evelyn first discovered Finneas on Jimmy Fallon’s show where he revealed the sounds that made the tracks on Grammy’s Album of the Year. Developing what we would call a crush for him, Evelyn wanted to find out more about him as well as about the dynamic between him and Eilish as siblings and co-writers.
Watching the breakdown of the song ‘Bad Guy’ - that has over a billion streams - and realising it was not made by a huge production team blew our minds. Evelyn was really intrigued at the amount of effort that the sibling duo put in to compose and produce a song.
Understanding the creative process of any creative is always meaningful because they are always very unique to the individual. For Finneas and Billie, the process feels very down-to-earth and organic. Even when it comes to equipment, Finneas mentioned that all he needs is his little toolbox with recording essentials and also his laptop for production.
“Sometimes it’s really not about the tool but more about the craft,” Evelyn emphasises.
This week, Akram got inspired to share about one of his favourite girl bosses. Natasha Jen “is a designer, a thinker, a maker, an educator, and a partner at Pentagram.” Having watched many of the talks that she has given, Akram says that her design principles are always very simple and straightforward and he likes the way she approaches problems in design.
One of the really well-known projects that really showcased Jen’s problem-solving approach is OfficeUS. Pentagram was asked to design a graphic identity for them in 2014. As part of the Venice Architecture Biennale, OfficeUS was an active workspace to recreate a thousand key architectural projects by two hundred different firms, which means the brand guidelines were going to go through the hands of many people. Upon hearing the project brief, it was obvious that there was a lot for Jen to think about. But along with her team, they managed to deliver a versatile identity system with the help of two of the world’s most favourite font: Arial and Times New Roman.
“Sometimes when we’re under tremendous pressure and (facing) a lot of constraints on resources, we don’t actually have the luxury to go through the typical process. We just only need to identify a couple of most important things and just go with them.” — Natasha Jen
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