With the advent of ebook readers and the global market immersion of products like the iPad, Kindle, and XOOM, the transition from analog books to digital books is evolving at a rapid pace. The pace of these developments make it hard for the common consumer to wrap his or her thoughts around what the future of a digital reading experience might be, nor do they care as long as they have their favorite magazine, website or book to enjoy at screen’s touch. However, for innovative and creative consultancy groups such as IDEO, their business is visualizing and designing the future in ways so that the common consumer can enjoy better experiences.
Take a moment to meet Nelson, Coupland, and Alice, who are IDEO’s vision of tomorrow’s reading experience.
Mother, Queen of Hearts, and Three Queens make this selection of Mark Sarmel’s work “5 Of A Kind.” His style, however, is one of a kind. Sarmel muses with portraits of futuristic women that quietly exude an ancestral lineage and are beautiful in every way and in every era. The Three Queens represent the queens from the three tribes of Azteca, but don headdresses with a technological design aesthetic. Beneath the surface beauty of the Three Queens is there an evil so deep that would allow the alleged human sacrifice, and cannibalism within the Aztec culture?
Sarmel values honesty, passion and a sense of humor and these virtues are evident in his work. Sarmel admits that he is a daydreamer, but stays up late and gets things done. His work has appeared in print and on-line in places such as Empty, Semi-Permanent, Faestehetic, and Society of Illustrators.
All images courtesy and copyrighted by Mark Sarmel on Flickr
Ever feel like your Constitutional rights are being stripped away slowly and surely? Well, now you can protest the new TSA X-ray scanners without opening your mouth or lifting a finger. There is clearly a “probable cause” to wear these 4th Amendment Metallic Ink printed undershirts, underwear, and kidswear!
The coolest 500GB external hard drive on the market is presented by Flash Rods, a company known for encasing digital storage devices with the badest cars ever designed. This epic Flash Rods model is the vintage ride from the movie Back to the Future starring Michael J. Fox. The stainless steel construction of this car is complete with 50’s style Moon Discs, a Flux Capacitor and Mr. Fusion Reactor. The only real difference between this disguised Seagate 500GB hard drive and the original Back to the Future DeLorean is you won’t need banana peels and stray garbage to get this into warp speed and ready for future computer back ups.
The essence of Jonathan Calugi is noodles of obsessed line design twisted with talent. Look for the title of each piece incorporated typographically.
Shigeo Fukuda / Fukuda San (1932 – 2009)
In the video below, Shigeo Fukuda’s sculpture appears as an assembled mass of welded forks, knives, and spoons. Eventually, the shadowy form of the intended work unveils itself and leaves a glimpse of Fukuda’s concept.
That’s what New York City based artist, designer and technologist, Joshua Davis says about himself on twitter. But he’s selling his bio a little short. Davis uses unprecedented techniques and creates work that is 100% original. Davis’ work is inconceivably intricate and unique. So much so, that a highly trained craftsman or programmer couldn’t re-engineer his designs no matter how hard they tried – Davis’ artwork is the digital equivalent of a snowflake.
In order to create work at this caliber, Davis pioneered an art making process known as “Dynamic Abstraction,” which generates artwork from Flash-based computer programs. Davis writes these computer programs based in Chaos Theory, which then execute random patterns of his hand drawn artwork. Davis calls this process, “Computational Design,” and he names his body of work “Tropism,” which is defined as the innate tendency of living organisms to move or grow without cognitive thought.
One of the biggest artistic influences for Davis is Jackson Pollock. Davis said, “I like Jackson Pollock. I don’t necessarily like his work, but I like Pollock as an idea.” The resonating idea is that Pollock’s paintings aren’t derived from a concept nor deliberate control of the paint or brush. Pollock (and Davis) initiate and “own” the finished work that they create, but the artists are only vehicles for the chance and movement that they cannot control.
“Tropism” at it’s best.
Following Pollock’s example, Davis loses control when he makes his art. In return, both artists make original, unrepeatable pieces. Davis’ computational design programs are randomized and unencumbered with very little restrictions, so the programs generate visual products of pure chance. Pollock’s fortuitous paintings are also produced by unplanned movements with limited controls such as the canvas frame, media, pigment color, and time duration.
When making artwork, Davis plays three roles – “the programmer, the designer, and the critic.” The critic, he says is the hard part because he’ll sometimes run a program 300-500 times before arriving at the result he wants. He mentioned running a program for 2 weeks before he saw the perfectly rendered design of his liking – a final result that “suspends chaos in a state of harmony… like waiting for that beautiful accident.”