I guess it’s a rather mean storm when it still looks like a hurricane on radar when it’s in Missouri. Tons of rain and water with gusting winds, but obviously nothing like what it was at the coast.
Robert Lindstrom of Design Chapel
Design Chapel is the identity of Designer, Illustrator and Photographer Robert Lindström. Hailing from Sweden, Lindström typifies many of the great qualities we expect from Swedish design: lots of bold, clean typography, excellent organization of the heirarchy, and plenty of reindeer and antlers to go around.
Google Chrome Launched Today: Design and UI Review
Today Google launched Chrome, a new internet browser, a move that was, for most people, completely out of the blue. However, rumors that Google was working on it had been circulating for a couple of years, and the question of “Why not?” had been posed for some time.
The most interesting thing about Chrome’s interface design, what may indeed make or break it, is its low visibility. You almost don’t know the browser is there, and I love that, though I think that some of the functions that were dropped might become issues. I don’t have time right now to do a direct comparison between the stripped-down functions in Chrome (as compared to something standard, like Internet Explorer 7), but I hope to do that later.
One of the great new design features of Chrome is the addition of a design-friendly search-page button that doesn’t pop up in an ugly little window, along with a status bar that exists by default, and disappears when not being used (for examples, click the image below). In Internet Explorer, the status bar created a permanent footprint in the bottom of the page.
For design notes on Chrome, click the image below. I honestly don’t have a lot to say here, this design is so minimal it could almost be compared favorably to the first iPod. However, I think one major difference is the iPod took the handful of design elements it actually addressed, and really made them stand out. I’m glad that Google has decided to simplify the browsing process, and remove the huge “Brick” of design, functionality, and extraneous bells & whistles from the top of the page.
Interface Advantages of Google Chrome
Favorite Bookmarks Bar: The bar on every browser that lets you display your favorite links as a toolbar is the greatest thing to ever happen to bookmarks. In fact, it is such a great feature I barely use del.icio.us anymore, because when I first started with it (this may have changed), there wasn’t an extension to display the most favorite of favorites right there in front of my face, underneath the address bar on the browser.
Google’s Chrome has finally taken this feature to the next level. It is easy to show, easy to hide (by simply tapping CTRL B) so you can get the extra pixels back into your display when you don’t need it. With Internet Explorer 7, you have to right click the header, uncheck Links, and then repeat process anytime you want to bring it back and forth. In other words, you either use it, and suffer the loss of pixels, or you don’t.
Additionally, even if you have CTRL B hidden your bookmarks, when you open a new tab, as if by a miracle, there they are. Once you click one and go (or type in an address), they go back to hiding. Ahhhhhh, good bookmarks. Good boys.
Information Heirarchy: The first thing that struck me about the design is there really is no heirarchy of information: Chrome gives equal visual weight to all elements. However, this isn’t completely accurate. The one element that benefits from an (albeit subtle) increase in size/visibility is the actual URL (see image below). In Internet Explorer and Firefox, the back and forward buttons are the top of the heirarchy.
Google has made the right move here: as the heirarchy of the browser should not interfere with the content of the actual web page the user is viewing.
Download Bar Integration: Another great decision by Google is the download file function, which is now integrated into the page, rather than opening a new, ugly window that takes up a spot on the Windows start bar. Files that are being downloaded pop up with file name, data downloaded/remaining, time estimate, and, to add a little extra kick, a thumbnail image of the file type (see image below). Even better, not only does the download bar integrate into the page, but it is married to the tab that is downloading it, and doesn’t show on the others.
16th Century Typography: Girolamo di Manfredi’s Latin Work, Published 1564
Eccles. Liber, In Quo Omnia…(etc), 1564, by Girolamo di Manfredi
Typography by Giovanni Rossi
Scanned and posted by fromoldbooks.org at this address.
Wow. Just look at this find. This is classical typography at its best. In the above spread, you can see a variety of typographic approaches, all of which are harmonizing perfectly. The titling area (detail below) goes from bold upper and lower case to roman caps, then small caps with a smaller point size. The Drop capital (the large, illustrated C that begins the text) adds just a pinch of ornamentation to the page: just enough, not too much.

Additionally, the italic section dividers with small cap roman numerals look outstanding.
There could probably be a bit more leading as the lines look slightly crowded. However, this was probably a page count issue, and in the 16th century manipulating the point sizes and leading of the font wasn’t just a couple clicks with InDesign. Look at the letterspacing though: even though the text columns are justified, there are almost no spacing issues (when you have big clumps of empty space after periods and between words).
PrintMafia’s Collingsworth and Madison: Rocking the Rock Industry from Little ol’ Kentucky
Partly because its a challenge I face myself, I truly love seeing great designers from unknown areas making a good run at the graphic design industry. As the web has widened, those working in traditional art and design strongholds like New York City, Chicago and Los Angeles are finding it increasingly difficult to view themselves as design Gods amongst irrelevent men (who live in strange, unexplored regions with names like Kentucky, Missouri, Wyoming and on and on). When I graduated from college, I remember several students proudly announcing that they were shipping off to NYC, to be just so many more creative pilgrims among hundreds of thousands of others. I told them I was going to the Web: even with the whole world population logging on, it is still a vast wild to be explored, with plenty of places to stake claims.
One of the most exciting studios in regular America is PrintMafia, a partnership between designers Connie Collingsworth and Jim Madison, who live and work in Bowling Green, Kentucky. The pair have been tasked with original concert and tour posters for Tool, Marilyn Manson, the Raconteurs and even Elton John. Think about that carefully designers: The next time you’re in a studio, pulling silkscreens for Elton John, you know… you Know you’re cool.
Danny Gibson of DJG Design: Finding Design Innocence in the Modern World

There is something amazing about what Kansas City designer Danny Gibson of DJG Design is doing. At first glance, his work appears to be outsider art made with found objects, but there is more to it than that. To understand Gibson, you must first know that he is a graphic design expert, having studied under great designers such as Cedomir Kostovich. Yet, when he ditched formal schooling to work a regular job and practice design on his own terms, he made the informed decision to abandon the conventions of design that most of us take for granted.









