Predicting the future of September 16, 2011 back in 1987, Apple painted the vision of a tablet device with a natural language voice assistant. Exactly 24 years later Apple is only one month off their fictitious September 16, 2011 date with the release of the iPhone 4S and Siri.
Via Waxy.org
This growing desire among designers to bring their user focus, strategic vision, iterative methodologies, and propositional thinking to the still-geeky, tech/engineering-centric world of startups promises to be transformative and explosive.
This is exactly why I left the ad agency world and ditched all clients after an amazing 11 year run. The future is incredibly bright.
“Great Scott!” Nike is finally releasing the shoe that every kid in the 80s dreamed of owning. Unfortunately the auto-laces feature doesn’t come out until 2015. With a limited run of 1,500 shoes, Nike is auctioning them off on eBay to benefit the Michael J Fox Foundation for Parkinson’s Research. There is only 10 hours to go on some of the first shoes being auctioned, and the bids are already hitting $6,000.
Now where is my hoverboard?
“The future of the internet is not algorithms, it’s content and design.”
Tim Armstrong, CEO of AOL at Cannes Lions
Although I fully agree with the quote, I find it slightly ironic that it was said by the CEO of a company known for less than stellar content and design.
Recently the motion graphics pioneer Bradley G Munkowitz’s, GMUNK, updated his portfolio with eight case studies for the visual graphics and eye-candy work that he lead for Tron. Each of the projects show multiple renders, behind the scenes elements, and beautiful screenshots of the work.
For the entirety of 2010, munkowitz led a black-ops team of GFX all-stars deep into the darkness at Digital Domain crafting over 12 minutes of holographic content for the feature film Tron
Back in the early 2000s I remember being blown away by GMUNK’s work. In fact his work, along with other up and coming interactive and motion designers, was one of my major influences in perusing design.
Bonus points to anyone who makes an animated GIF of his Mandingo Immortal project. I’m sure it’ll be an instant Tumblr hit.
The future belongs to the few of us still willing to get our hands dirty.
Interactive dirt poster poster by Roland Tiangco.
Found on Designinspiration
Watch as NBC’s Today Show hosts struggle to explain and understand what the internet is in 1994. It’s amazing to realize how far we have come in just a few short years. Imagine where this thing called “the internet” will be in another 17 years.
The Internet hasn’t gone to College YET! I mean this was less than 17 years ago, I have often said we are underestimating this whole thing and this video reminds me why! I just think people dont grasp how young this whole movement and platform is! Just wait!
—Gary Vaynerchuk
A collection of “hyperspace” scenes from films assembled by Clair L. Evans.
The hyperspace is an enduring concept in science fiction, as it provides a kind of panacea for all conflict. The slip into hyperspace/warp speed as a plot device is ordinarily used either as a) An accidental tunnel to the unknown, or B) An escape from danger via total oblivion.
Reblogged from topherchris
“Good designers must always be avant-gardists, always one step ahead of the times. They should – and must – question everything generally thought to be obvious. They must have an intuition for people’s changing attitudes. For the reality in which they live, for their dreams, their desires, their worries, their needs, their living habits. They must also be able to assess realistically the opportunities and bounds of technology.”
Director Joseph Kosinki is making his big-screen directorial debut with the upcoming TRON: Legacy movie after a well accomplished career as commercial director behind the “Starry Night” - Halo 3 and “Mad-World” - Gears of War commercials. While creating the visual look for TRON Kosinski relied on his background architecture to create the scientific, geometrical and glossy world.
In architecture school, Joseph Kosinski had to post his work in class for professor critiques before returning to the drawing board to fix his mistakes. Years later, he used the same approach to codify the look of Disney’s Tron: Legacy
Inspired by real-world architects Kosinki looked to the clean and stark pioneers of modern architecture like Ludwig Mies van der Rohe and Louis Kahn. “This is a world that had to be designed from scratch,” says Kosinski. “I don’t know how you can direct a movie like this if you’re not interested in design and architecture. It became the guiding philosophy.”
Read the entire interview with Joseph Kosinki on Fast Company.
Design and innovation firm IDEO imagines the future of the book and how value could be added through diverse discussion, connected readers and creative story telling methods. Meet Nelson, Coupland and Alice.
Agency Dentsu London and BERG London team up to experiment with painting 3-dimentional typography using an iPad and long exposures.
Go ahead, take 5:35 minutes to watch this and get inspired to create something incredible.
Most users have no imagination. They want what they know. When they say they want the future, what they are really saying is that they want a moderately updated version of the past.
- MG Siegler
Via Startup Quote
“At a time when websites are spilling off desktops onto sidewalks and computing in public spaces is dissolving into behavior, technology itself has shown boundary blindness. And humans are following suit. We carry our televisions in our pockets. We pay with our phones. And we read more than ever before on an unpredictable number of screens. It is possible to see beyond the small fences of the familiar, but first you must see no boundaries.”
Inventing Interactive has an incredible interview with interactive art director Neil Huxley who was hired by VFX house Prime Focus to design all the interface elements for the futuristic displays. Avatar was Neil’s second movie to work on VFX after Gamer in 2009, and prior to that he had primarily art directed movie title screens and created educational interactive work for museums and galleries.
All of the scenes were created using Adobe Photoshop, Illustrator, and After Effects and then incorporated into 3ds Max and Maya. In all he had 7 months to create the visuals for the movie along with a team six After Effects animators and a few cg artists.
After Avatar picked up an Academy Award for visual effects I’m certain Neil Huxely’s work will be in high demand.
Read the interview with Neil Huxley | Inventing Interactive on the movie Avatar | Prime Focus’ press release on the interface graphics
