With it’s debut on July 1st, 1979, WALKMAN® has introduced to the world a new way to “easily enjoy high quality music anywhere,anytime”. Over time, WALKMAN® has become a symbol of Sony’s challenge, filling the world with emotion through creating new music experiences. Enjoy 40 years of WALKMAN® on this special site and rediscover your favorite.
In about a week’s time, the high-profile, and often controversial, survey of up-and-coming American artists known as the Whitney Biennial will open in New York. Gretchen is not a part of that show. Instead, her project, Whitney Biennial 2019…Vision Board is beginning its month-long run on the opposite side of the country, at Los Angeles Center for Digital Art. When Gretchen addresses the guests, she refers to her opening as a “celebration and manifestation” of the work. It is the IRL component of a piece that largely lives online, the culmination of months spent expressing her own desire to be part of the Whitney Biennial and subsequently tricking Google into thinking she actually is part of the esteemed exhibition.
all photos by Takumi Ota, courtesy Kashiwa SatoWe’ve never wanted to peel off the lid of a building as much as this one: Nissin’s new Cup Noodle Factory in Shiga Prefecture of Japan’s Kansai region. This is the company’s first new factory in 22 years and at 100,000㎡ (approximately 24.6 acres) i
It took 850 days, 74 tubes of soy ink, 15 colors, 660 masters, 690,000 sheets of paper, 3 fans, 2 riso printers, and 4 people to complete a book – a 360 page book that only talks about 1 thing. The thing that is always the most fascinating is “Process”. The processes and experiences that did not have the chance to appear in the pages of this book can only be quantified, converted, and recorded into words. is the result of 2 years of image separation studies and experiments, and is the second book published by O.OO, continuing the spirit and purpose of published 3 years ago. Instead of using wordy descriptions, we hope that readers can feel the wonders of Risograph printing through the details of the design in the book. Whether you are a designer, an artist, or an illustrator, anyone interested in color can use this book to enter the field with ease.The methods discussed in this book are not the one and only, and are not absolute. Everyone’s way of experimenting is different, and this book just offers our experience as a tool. Without the participation of people, the technology is plain and void of charm. Thus, the title NO MAGIC IN RISO.
Aaaanndddd we’re back. Sorry for the hiatus everyone, just needed some time out and finally had a break from work to welcome our friend who is moving here from Japan.
Anyway, that ca(r)t is finally out of the bag. My first show in over a year is an awesome group show in Tokyo, featuring a host of awesome artists making custom labels for Famicom Cartridges. Its crazy, I had the idea for the same kinda show while we were living in Osaka, and then when we travelled to Tokyo I just happened to visit Super Meteor while walking around Nakano Broadway, and they had the 2017 My Famicase Exhibition on. It was awesome, and I am so glad to be able to be part of it this year.
My entry is called – Beautiful Castle Death Machine: A quiet morning survival version
I have a few more in the series planned, and will be bringing them to life later this year for my own famicart exhibition if all goes to plan.
There are so many amazing entries this year, so here is a gallery with my favourites. Once I have my hands on the catalogue I will update with links to each artist.
I am so stoked that I was able to be part of the Super Meteor – My Famicase Exhibition 2019! feels really good to have my art out in the wild again, and has driven me to keep creating more and more.
Super Meteor are awesome to work with, and should have all the Famicase images up on their website – www.famicase.com – shortly.
Did we need a new Helvetica? No. Did we want a new Helvetica? Kind of…
The Monotype Type Foundry has released and updated version of Helvetica, called Helvetica now. At a glance it looks like Helvetica, but there have been a bunch of updates and additions, attempting to modernise the font for the current digital age.
Helvetica® Now is a new chapter in the story of perhaps the best-known typeface of all time. Available in three optical sizes—Micro, Text, and Display.
I haven’t been using Helvetica as a workhorse since my screen printing days about a decade ago. a few years ago, I came across Neue Haas Unica (also by Monotype), which I thought was a more interesting sans serif that had a bunch of weights and uses, and pretty much stuck with it for my everyday. Im tempted to get Helvetica Now, but I dont think I really need it.
The Verge has a pretty in depth behind the scenes interview about Helvetica Now.
I’m setting up a few zines in anticipation of the zine fair season down here in Sydney, and while looking at some other zines for inspiration I came across my new favourite zine.
A zine is usually a small DIY publication, zine being short for and pronounced like magazine. I have been making zines for years, and even ran a class on zine making at a university about a decade ago. They are an interesting, evolving and free form of publication that is accessible to anyone.
This zine, Hand Job, is particularly interesting as they have been cataloging mistakes from the mass digitisation of printed materials. I love that these digitisation mistakes are now being reprinted in zine form. It is absurd. It is interesting. It is also a bit voyeuristic, and I love it.
Hand Job currently has 4 issues available digitally, but the author – Aliza Elkin – who works as an archivist and librarian is open to sell physical copies, or trade for the right zine.
Recently I have been getting way into kei cars, kei vans and kei trucks. I used to love cars, and always wanted to have a drift car of my own. Then I realised that it was prohibitively expensive to do that in Australia, so I turned my attention to Remote Control drift cars. Then I went to art school and had no money for a very long time, and my love of cars was all but forgotten.
Recently, I have had the time, money and energy to get back into cars. I got a Nissan Cube3, a rad little Japanese minivan, which isnt classes as a kei car, but by Australian standards is a very small car.
So, with my newfound enthusiasm for cars, I have been looking into Kei Cars. Kei Cars, short for keijidōsha, literally translates to Light Car. Since the middle of the 20th century, kei cars have had small engine restrictions, currently limited to 660cc, equivalent of a mid ranged motorbike. They are often very simple, small and cheap, and also attract much lower taxes and registration fees. There are kei cars, kei vans ( my current favourite, more on that at a later date) and Kei Trucks.
Whilst doing some research into kei vans and trucks, I came across the Japan Federation of Landscape Contractors who just happen to host a yearly garden competition. A competition where the garden has to fit into the bed of a Kei Truck.
This contest is apparently held every year, and while I couldn’t find much details on it, I am super happy it exists. From what I understand, none of these installations are permanent and are made only for the competition, but the amount of effort these various landscaping companies go through is amazing.
I love kei vans and trucks, and enough to attend the launch of Chris Loutfy’s Zine – Small & Mighty, which was held out the side of his 1980s Suzuki Carry Van. Super appropriate as the zine features photos of all sorts of small and mighty kei vans and trucks.
And of course, the JFLC also has a mascot called Niwa-Maru
20 years after The Matrix first graced our screens, an interesting tidbit has come to my attention. Thanks to Wired for doing a deep dive into The Matrix for there 20 year anniversary, where they have a lot of coverage featuring various aspect of the films you can check out here.
One of the most interesting and memorable parts of the films design was the source code. scrolling green characters that made up The Matrix. I always just thought they would be gibberish, but it turns out that the code is actually Sushi recipes, taken from one of the designers wife’s cookbooks.
“The Wachowskis didn’t feel like the design was old-fashioned and traditional enough. They wanted something that was more Japanese, more manga,” Whiteley says. “They asked me if I’d like to have a go working at the code, mainly because my wife is Japanese and she could help me work out the characters and give me insight into which characters were good and which weren’t.”
So Whiteley went home and began browsing through the “stacks of Japanese cookbooks” owned by his wife, looking for inspiration. One recipe book in particular caught his eye and the recipes therein served as the basis for what would eventually become the film’s iconic falling code. Over the following weeks, Whiteley painstakingly designed and painted each Japanese letter by hand. These were then delivered to Justin Marshall, now a visual effects artist at Animal Logic, who digitized them and wrote the code to make them cascade across the screen. Originally, Whiteley says, the letters were supposed to flow across the screen from left to right, but when he saw the animation he says it “wasn’t evoking any emotion for me.”
Whiteley returned to the source. Like most Japanese texts, the recipe books were written “back to front” and sentences were read top to bottom. So Whiteley asked Marshall if he could flip the code so it flowed down from the top of the screen—and the rest is history.
If you are feeling nostalgic, you can grab a screensaver based on the scrolling code of The Matrix here.