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Trofie pasta w porchini, maitake, shitake purée. Ika-sumi baguette from Gontran Cherrier in Shinjuku.

Almost every line in the above message was squigly-underlined. Guess that makes it even more tasty. Finally putting our thyme to good use.
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Tokyo TDC Exhibition 2013 / ginza graphic gallery

You have one week left to catch the Tokyo Type Directors Club exhibition 2013 at the Ginza Graphic Gallery before it closes April, 27th.
This year's format stayed very much in keeping with recent years and as always it kept with the stellar level of typographic design. 

The Grand Prix winner this year went to a typographic film by Stefan Sagmeister & Jessica Walsh entitled 'Now is Better'. It originally showed at 'The Happy Show' at the Institute for Contemporary Art in Philadelphia. You'll be hard pressed to find it online, however it will be released as part of the 'The Happy Film'. ( http://www.kickstarter.com/projects/thehappyfilm/the-happy-film )

If I had to pick a 'star' of the show this year I think that I'd have to go with Felix Pfäffli ( http://www.feixen.ch/ ) of Switzerland. Featured on the first floor were three extremely bold posters from part of his series for a multi-purpose cultural center in Kriens Switzerland. The series totals fifty posters in all which he has been the sole designer since 2010. I am fondest of 'THere Must Be Some Kind of Way Out of Here'; a ribbon of type which is reminiscent of an MCE Escher stairway. Upon arriving in the basement you realize just how far-reaching his designs are. 

Masayoshi Nakayoshi 仲條正義 ( http://www.artandscience.jp/column/archives/2152) 「忘れちゃってeasy思い出してcrazy」(Forgetting makes things easy, Remembering drives you crazy) a series composed of crisp, strong lines complimented by natural paper and ink textures. Masayoshi also has a great series in the basement in the form of a calendar for Tokyo Ginza Shiseido Bld.

Erich Brechbuhl  had a brilliant piece entitled 'Between Me and Tomorrow' (http://www.behance.net/gallery/Between-me-and-tomorrow/4749897). It was clever, thoughtful, and strikingly simple. A fluorescent orange, half-deflated water-wing composed completely of gradient meshes in Adobe Illustrator, is a poster for a coming of age story at the Jungendtheatre. ( http://jugendtheatersempach.ch/ )

The Shinsekai Type Study Group 新世界タイプ研究会 ( http://shinsekai.type.org/ ) made up of members: Yoshihide Okazawa, Tetsuya Tsukada and Hidechika, took on and completely pulled-off the incredible challenge of re-engineering the Japanese hiragana alphabet. The hiragana was originally designed to be calligraphically written vertically, but as the rapid expansion of digital technology has taken the lion's share of what is read today it has never incorporated a means of rendering type vertically, so they're experiment in a horizontal hiragana is a really interesting experiment.

Other artworks that should not go unmentioned are Irobe Yoshiaki's poster work ( http://irobe.ndc.co.jp/4358042 ) for www.artbility.com, sadly the site itself desperately needs a remake. As I'm a bit of a sucker for saturated colours on negative space, Chihara Tetsuya's work for lemonlife.jp ( http://www.lemonlife.jp/lemonlife.jp/chihara.html ) greatly appealed to me. The collaboration between artless.Inc and yoshimori.co.ltd was remarkable in it subtlety ( http://www.d-pe.com/ ). North/UK had a fine showing again this year with their corporate identity work for The Photographer's Gallery in London. No TDC show would be complete without a showing from Why Not Associates, who this year offered-up a very simple all-caps typeface called VIER - regular ( http://whynotassociates.com/recent-work-2/vier ).

The work that blew me away in the basement however was a series of event posters for the 'proposed' 2020 Tokyo Olympics. http://optional-arts.weblogs.jp/activity/2012/03/3001.html
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Tokyo TDC Exhibition 2013 / ginza graphic gallery

You have one week left to catch the Tokyo Type Directors Club exhibition 2013 at the Ginza Graphic Gallery before it closes April, 27th.
This year's format stayed very much in keeping with recent years and as always it kept with the stellar level of typographic design. 

The Grand Prix winner this year went to a typographic film by Stefan Sagmeister & Jessica Walsh entitled 'Now is Better'. It originally showed at 'The Happy Show' at the Institute for Contemporary Art in Philadelphia. You'll be hard pressed to find it online, however it will be released as part of the 'The Happy Film'. ( http://www.kickstarter.com/projects/thehappyfilm/the-happy-film )

If I had to pick a 'star' of the show this year I think that I'd have to go with Felix Pfäffli ( http://www.feixen.ch/ ) of Switzerland. Featured on the first floor were three extremely bold posters from part of his series for a multi-purpose cultural center in Kriens Switzerland. The series totals fifty posters in all which he has been the sole designer since 2010. I am fondest of 'THere Must Be Some Kind of Way Out of Here'; a ribbon of type which is reminiscent of an MCE Escher stairway. Upon arriving in the basement you realize just how far-reaching his designs are. 

Masayoshi Nakayoshi 仲條正義 ( http://www.artandscience.jp/column/archives/2152) 「忘れちゃってeasy思い出してcrazy」(Forgetting makes things easy, Remembering drives you crazy) a series composed of crisp, strong lines complimented by natural paper and ink textures. Masayoshi also has a great series in the basement in the form of a calendar for Tokyo Ginza Shiseido Bld.

Erich Brechbuhl  had a brilliant piece entitled 'Between Me and Tomorrow' (http://www.behance.net/gallery/Between-me-and-tomorrow/4749897). It was clever, thoughtful, and strikingly simple. A fluorescent orange, half-deflated water-wing composed completely of gradient meshes in Adobe Illustrator, is a poster for a coming of age story at the Jungendtheatre. ( http://jugendtheatersempach.ch/ )

The Shinsekai Type Study Group 新世界タイプ研究会 ( http://shinsekai.type.org/ ) made up of members: Yoshihide Okazawa, Tetsuya Tsukada and Hidechika, took on and completely pulled-off the incredible challenge of re-engineering the Japanese hiragana alphabet. The hiragana was originally designed to be calligraphically written vertically, but as the rapid expansion of digital technology has taken the lion's share of what is read today it has never incorporated a means of rendering type vertically, so they're experiment in a horizontal hiragana is a really interesting experiment.

Other artworks that should not go unmentioned are Irobe Yoshiaki's poster work ( http://irobe.ndc.co.jp/4358042 ) for www.artbility.com, sadly the site itself desperately needs a remake. As I'm a bit of a sucker for saturated colours on negative space, Chihara Tetsuya's work for lemonlife.jp ( http://www.lemonlife.jp/lemonlife.jp/chihara.html ) greatly appealed to me. The collaboration between artless.Inc and yoshimori.co.ltd was remarkable in it subtlety ( http://www.d-pe.com/ ). North/UK had a fine showing again this year with their corporate identity work for The Photographer's Gallery in London. No TDC show would be complete without a showing from Why Not Associates, who this year offered-up a very simple all-caps typeface called VIER - regular ( http://whynotassociates.com/recent-work-2/vier ).

The work that blew me away in the basement however was a series of event posters for the 'proposed' 2020 Tokyo Olympics. http://optional-arts.weblogs.jp/activity/2012/03/3001.html

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I'd almost forgotten about Google+. Sorry for the long absence, there's been some matters at hand. 
Here's some great signage from Tokyo (and one from Ishigaki). I really dig the way metal signage fades out over time.
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In this Tokyo cold-snap thoughts turn to summer. Tired of sickness and immobility.
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New woodblock series slowly starting, slowly...

Here's my first linear sketch for The Seven Gods of Fortune 七福神.
Meet Fukurokuju 福禄寿!
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Stop-motion videos are never easy. But Indie-folk artists 'Hudson' (a nod to the bay perhaps) have brought a sort of softness to this well thought-out piece that deserves respect.

The song ain't bad either.

Have a listen/look.
http://vimeo.com/31939621
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11/11/11/11

For those of you in times-zones behind remember to take a minute.
The immortal words of Canadian doctor and artillery commander Major John McCrae.

In Flanders field the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe;
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

So when a kindly neighbour hands you a bag of persimmon you're all like 'oh, thank-you so much' (what the f$&k am I gonna do with these!). Here's a couple of ideas.

Salads.
Yup,

Persimmon loves arugala and pancetta! Got fennel-root? Then skip the ham and throw in some orange rind.
If you're feeling fancy wrap that fruit and leaf in the pancetta and grill it. (gouda's a nice touch)

or

toss with green beans, shallots and chives

--------------------------------------------------

Got time?
500g stew meat
1/2 tsp salt
1 onion
2 red peppers
3 (or 1) cloves of garlic (at's right childhood vampire fears)
1 tsp ground cumin
6 coriander seeds
1 1/2 tsp tumeric
1/2 tsp (or more MORE) cayenne
3 tsp ground paprika
1 can of diced tomatoes
4 persimmons

do your thing.

-------------------------------------------------

Salsa?
Dude, where's my tomatoes?

3 or 4 persimmon pealed and cubed
1/2 a onion diced (rinse it)
1/2 a lime's juice
handful oregano
handful coriander
3 mint leaves
fresh chilli chopped
dash of orange juice

Let's deal with all that daikon next week, eh.

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And how about some colour prints? Only 15yen.
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