Courtesy of Flickr:

Image from page 113 of “Engravings of the bones, muscles and joints” (1816) by Internet Archives Book Images

Here’s the first of hopefully plenty of non-text-inspired designs! 

Gotta say, this is one of those “gotta-perservere” designs. I’ve been supplied with these curious images from Natalie and Chase, and I tried to piece together a narrative within (I didn’t know the order of the photos when I first received, and only found out after I finished the design and was about to post). The first thing that popped in my mind became the idea I went with: putting this “skin” of images on a skeleton, and “fleshing” the concept out (I wish this was a pun for pun’s sake… but it was a genuine concept). 

Even though I knew Natalie and Chase quite well, I couldn’t really tell what part of the body the images came from (which I’m pretty sure was part of the point), and so that made selecting a skeleton section tricky as well. I eventually went with the rib cage because it provided the most real estate for “layering” and it was also the highest quality image I found on Flickr Commons

Overall I have to say I’m pleased with the work, as it never really clicked until the very end (and even then, I felt like something was still amiss). But the good responses I’ve received so far seem to suggest it works for people, and so I’m glad! You never know what might inspire and become beautiful for others, and that’s part of the magical enigma that is art. 


Courtesy of Flickr

Image from page 244 of “The call of the stars; a popular introduction to a knowledge of the starry skies with their romance and legend” (1919) by Internet Archive Book Images

I remember quite vividly the image that appeared in my mind as I thought about this beautifully ethereal piece by Emma and Mike. It was something akin to the Across the Universe poster or, for something more recent, the Under the Skin poster:

This idea of a world suspended in space just stuck with me, and I loved those images where we’ve got the words stuck between background and foreground. And so, I set about with that concept in mind and created this design. 

Once I was finished, I was pleased but not very excited about the piece. There was something missing—it looked too bland. And then I realized what it was: the “land” was on the bottom edge of the design. It’s too obvious a choice, and too cliched as well. 

And so, in what-for-me-was-an-unexpected-choice, I moved the “perspective” of the world within the design. I had to redesign the car to bit, but then the happy accident that came about from this was that the headlights just so happen to illuminate the credits that I placed on the design earlier. Love how art will sometime reward you for taking risks in the simplest and most elegant of ways.  

One of the latest from the Warehouse Collective

This design actually came about after a long, long day of struggling with Emma’s cryptic and enigmatic text. I spent most of my time trying to decipher the work; trying to answer the question I saw in the writing. Never mind the fact that there was no real question—I became obsessed with putting an identity to the “speaker” of the text. But, of course, that approach would be too easy and too comfortable. 

So instead, after not touching and/or reading the piece for a whole day, I came back and produced this design in 30 minutes. It’s still conceptually strong in my opinion—this idea of a “silent” transmission that lures you in (hence why there are no ‘teaser’ excerpts)—but I definitely would not have arrived at this concept and design without taking that break, as unproductive as it might have seemed during the moment. Goes to show that sometimes the best ideas come after you’ve seemingly walked away from the piece. 

What I love the most after seeing this piece again is how the words “Transmision” look almost like chromosomes—perhaps a subconscious effort on the part of my brain in giving a nod to my previous attempts at this piece.

In any case, take a crack at Emma’s words and see if you can figure it out yourself. 

I agree with Armin—this is definitely the best part of the NERF Super Soaker’s logo redesign. That, and of course the NERF Super Soaker itself (says everyone’s inner 10-year-old). 

“The page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which must answer to the page. The two together — page and textblock — produce an antiphonal geometry. That geometry alone can bond the reader to the book.”
— By Robert Bringhurst, of The Elements of Typographical Style fame (I got this from the following article written by Craig Mod) 


Courtesy of Flickr:

Image from page 154 of “Bird-life: a guide to the study of our common birds” (1900) by the Internet Archives Book Images [short-eared owl]

Image from page 329 of “Bird notes” (1902) by the Internet Archives Book Images [blue and maroon tanagers]

Image from page 175 of “Illustrations of the birds of California, Texas, Oregon, British and Russian America. : Intended to contain descriptions and figures of all North American birds not given by former American authors, and a general synopsis of North by the Internet Archives Book Images [scarlet crowned flycatchers]

Latest on the Warehouse Collective

From the first moment that I read Allie Villarreal’s fictional tweet, I knew that I had to include vintage illustrations of birds. That said, this design is one of those “murky” conceptual pieces, where even I’m not exactly which ideas began and ended within the design. In any case, I just went with it. Started by exploring red birds and/or birds associated with fire, which lead me down the rabbit hole of tanagers and flycatchers (didn’t want to go the obvious route of red robins nor parrots). The rest became an experimentation of layers and textures in figuring the relationship between the birds. 

Happy to say that my professional work contributed to this piece in the Twitter mockup! Is it weird that I like how the two aspects of the design (the artsy and the ‘corporate’) worked so well together? 

I’ll let you guys figure out why the owl. 

One of the latest from the Warehouse Collective.

One of those accidental moments of automatic designing (just copy and pasting a muffin illustration I drew super quickly), and then playing with layer effects. I was so tempted to have only the muffins, but that wouldn’t be fair to the super-trippy and edgy writing T. Chase Meacham had conjured for my inspiration. This is the first design that I genuinely consider as a “full-edge” piece, and I’m curious and excited to think of future possibilities for such an approach! 

Sometimes the best high comes from just simply creating.