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The Shuttlecock and Other Design Curiosities

ShuttlecockOur lives are surrounded by small and seemingly insignificant objects that, if we stop and think about them for a moment, were created by designers. Golf balls, barrettes, toothbrushes: They are not simply manufacturing accidents but very specific responses to our needs and wants and the designers’ aesthetic goals. The “Objectify Me” section of the website for the design documentary Objectified invites designers and design-watchers to muse on these small wonders with wonderful results. The golf ball prompts Craig Foltz to ask a series of whimsical questions. Debbie Millman recalls a juvenile obsession with barrettes that led to misdemeanor theft. And Alice Twemlow turns her gaze to the badminton shuttlecock, which

seems to me to contain all the time and space of a long summer’s afternoon on a large green lawn. In its delicately ribbed frame are encapsulated pitchers of lemonade, the drone of bees, the smell of mown grass and the sun-baked mustiness of the garden sheds where shuttlecocks rest along with broken croquet mallets, dog-chewed Frisbees and trapped flies.

Source: Objectified

Image by barkertrax, licensed under Creative Commons.

Helvetica: Not Everyone’s Type

HelveticaLike all graphic designers, I’m faced with the eternal question: Is Helvetica a typeface I should use? Or should I avoid it at all costs? The film documentary Helvetica, which is now out on DVD, may provide some answers. Helvetica is chock full of legends from the design and type worlds weighing in on the most ubiquitous of typefaces. Not surprisingly, their answers pretty much depend on when they came of age as designers. Designers have alternately embraced and reviled Helvetica since it was introduced in the American market in the late 1950s, and the debate continues to this day. Is it the typeface of capitalism, or socialism? My conclusion from watching Helvetica is that it is both. The designers of the ’50s and ’60s were correct to embrace it for its neutrality, and designers of the postmodern era were correct to reject it for its stodgy corporate connotations.

Stephanie Glaros




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