Graphic Design, Referenced serves as a comprehensive source of information and inspiration by documenting and chronicling the scope of contemporary graphic design, stemming from the middle of the twentieth century to today.

I’m pleased to say that the alternate design of my Logan’s Run poster (the black one) has been included in the book for the chapter on Practice, which “highlights some of the most iconic work produced that not only serve as examples of best practices, but also illustrate its potential lasting legacy”.

Last night I went to the launch of the Geoff Manaugh’s BLDG BLOG book at the Architectural Association in London (I’m somewhere stuck in the back in the above photo). Not something I usually do because functions like that can, in my opinion, become quite stuffy and a bit pretentious (I’m not a big fan of gallery opening nights). But this intrigued me, in part because Warren was raving about it (and since we have mutual friends I though I’d drop by and say Hello to him), and anything that combines design, Sci-Fi and speculative thinking gets my vote.

Talking in your book about buildings causing earthquakes because of their weight and location is interesting. Extrapolating that fact into ideas of how to weaponize that, or force shut fault lines by clever urban planning is taking it to a whole other level. And thats just one tiny bit of a book filled with all kinds of amazing ideas of building a science fiction habitat.

So yeah, in a very roundabout way I’m saying you should buy the book (and also because its a very nicely designed printed object).

After 4 years my friendly nagging has paid of, and my wife Liz finally has a portfolio-slash-blog site (apart of course from Mr and Mrs M). Personally, I really like the way she photographed her work in a very informal, almost throwaway manner in our home, giving a sense of tactility to the work — instead of the current trend of shooting everything against a sterile grey background.

“It’s going to be pretty much required from all agencies that content has to work on everything.”

— in an round-table discussion on new puritanism in (online) advertising, while a few pages down our own Ben Wise shows you some nifty CSS and JQuery tricks to spruce up your site.

The first 3 covers for Ivan Brandon and Nic Klein’s VIKING are in the bag (issues 1 and 2 are available now, 3 will be in shops later this summer). Its great fun being involved in the creative process with Ivan and Nic — aiming to get the best possible product on the shelves. If anything, the production values on the comic are unlike anything in shops today. The slightly oversized format, thick paper stock, and spot varnish on the cover make it really pop.

When I designed the logo I had a clear idea of how it would be applied, but as with anything rules are meant to be broken, or bent at least. The cover art for the first issue largely dictated how the logo would appear on the book, and the way I had designed it made it adaptable enough for later issues.
But when I received the art for the issue 2, I inadvertently started to change the logo when I was working on the cover design: I made it larger, created a new texture, cropped it differently and so on.

Instead of having a formulaic approach I made the call right then that each cover treatment should be different and ‘meld’ together with the art. So now we have 3 covers. And all 3 look different — with 3 being the richest in texture so far. Its an ongoing experiment to integrate the logo with the art while not losing the bold graphic element.

Ivan sent me the cover art for issue 4 the other day — another beautiful piece by Nic thats completely different from the current covers — and it looks like the logo will be going through yet another permutation.

Large versions of the covers at my Flickr account.

• MPD – PSYCHO #8, 9 (Dark Horse Manga)
• GANTZ #5 (Dark Horse Manga)
• Batman and Robin #1 (DC Comics)
• The Amazing Spider-Man #596 (Marvel Comics)
• Anna Mercury 2 #1 (Painted cover variant) (Avatar Press)
• Ignition City #3 (Painted cover variant) (Avatar Press)
• Crossed #5 (Wrap cover variant) (Avatar Press)
• Ultimatum #4 (Marvel Comics)
• Battlefields – Tankies, part 2 of 3 (Dynamite Entertainment)
• Wolverine – Old Man Logan #72 (Marvel Comics)
• Air #9, 10 (DC/Vertigo Comics)
• Unknown Soldier #7, 9 (DC/Vertigo Comics) Missed #8 somehow!
• The Unwritten #2 (DC/Vertigo Comics)
• Universal War One: Revelations #3 (Marvel Comics)
• VIKING #2 (Image Comics)
• Phonogram — The Singles Club #3 (Image Comics)
• Hellblazer #256 (DC/Vertigo Comics)
• Astonishing X-Men #30 (Marvel Comics)
• B.P.R.D — War On Frogs #3 (Dark Horse Comics)
• Fantastic Four #567 (Marvel Comics)
• Incognito #4 (Marvel/Icon)
• POPBOT #8 (IDW Publishing)
• Scalped Book 1 “Indian Country” (DC/Vertigo Comics)
• Scalped Book 4 “The Gravel In Your Guts” (DC/Vertigo Comics)
• Criminal Book 2 “Lawless” (Marvel/Icon)

The Europe By Designers competition that ran a few months ago has announced its winners, or rather an exhibit of the 52 designs that were chosen. From the site:

EUROPE BY DESIGNERS is an international artistic project whose aim is to unveil a multitude of images of Europe from the inside and from the outside. Design as the expression of a cultural vision, a political vision or a simple and unposed feeling… Design and its diversity as a new way to catch Europe.

I was one of the judges, and so partially responsible for the selection that is now displayed. And to be brutally honest I’m surprised at the quality of some of the pieces that made it through. I know that an open competition yields a large fluctuation in work, but it looks like the overall sense of quality control seemed to be incredibly relaxed. Sorry to burst your bubble but thats how I’m seeing it. Personally, I think the list could be slashed even further to get rid of some of the tired and clichéd ideas and some badly executed work.

Am I too uptight? Should I be more lenient when I’m judging work, or were my expectations unrealistically high?

Anyway… for posterity, I thought it’d be fun to share the article and see if I got anything right and how much has changed since then. (This was obviously written well before the “web 2.0″ boom and the widespread proliferation of web technologies like AJAX and JQuery)

Opinion column.

Is Flash Dead?
By Tom Muller.

The last couple of years have seen Flash seriously coming of age and used in one shape or form on web sites: from full blown sites using intense Flash scripting and database driven applications, to ‘in-your-face’ portfolio sites and interactive showcases; to today, where more and more designers seem to go back to HTML/PHP driven sites, avoiding Flash altogether.

Does that mean that Flash has seen its peak, or have designers grown up with the application and realized its full potential?

The reason I’m asking this question is very simple. Design, like everything else, is subject to trends, innovation and growth, whether you like it or not.

So is this return to ‘static’ sites a result of some trend, or is there something more to it?

A couple of years ago, around 1999-2000 when the dot.com dream was still alive, Flash suddenly came into its own. Improved animation tools and a serious boost in its technical abilities meant that designers now had the opportunity to break away from static HTML driven sites, and let their designs and images come to life.

For a while, everyone was using Flash on one site or another. Some produced beautiful results, some created stories and little movies, others created fully animated portfolios that’s whizzed and zoomed around your monitor.

But was it all necessary?
When I started out in web design, the company I worked for specialized in B to B communications; which basically meant that the end user had no clue about interactive media, and Flash was a word from the devil. Plug-in issues aside, the content and message was the prime directive. We designed content, not brainless eye candy; and when you think about it, the web is first and foremost a data carrier. If you design/build a site, you want people to see your work, and a 2 meg intro is going to do you no good if the actual site is incomprehensive.

I mean, I’m as guilty as the next designer to have used Flash in a totally inappropriate way. Right when I left for London and started working for Vir2L (which was known for its exuberant visual style, I totally lost the plot. No more restrictions! Spinning 3D logos! Excitement! The classic full-screen 2 MB intro is but one example, but it never really served the public. In hindsight, it was all a self-indulgent exercise for us designers to see how far we could push the boundaries. So what if the end-user was still on a 256K dialup? All us designers had broadband, and that was all that mattered.
Lots of designers and agencies started profiling themselves as Flash masters, some were successful, others, well…. I guess anyone with a decent sense for design and usability will be able to pick to good from the bad and the ugly.

And sometimes we wonder why there was a dot-bomb… .

The way I see it, there’s only 2 ways to use Flash appropriately:
You create a full on interactive story or experience, where you take the user on a journey, entertain him/her and that’s it. Or, you use Flash to create interactive tools that fit within a larger framework, based and led by content (stuff like video- and audio players for example). People have absolutely no use for a site that may have cool stuff whizzing about that detract rather than add value to a site. Sure it’s cool that you can move you menu around, but where is the added value in that??

We as (web )designers have a job: communicate! By no means does that mean it has to be boring, far from it, but however it looks, it has to work.

Fast-forward to today. If you look online now, and surf the design portals in search for your daily design fix, you’ll notice a big shift. Flash is almost no more.

Although the application has matured and offers even more and more functionality to create fully integrated, dynamic sites, most designers seem to be looking the other way: (X)HTML –based sites, using PHP and MySQL to deliver the message.

I’ve always been a firm believer that there is a place for both, and I tend to build sites using HTML rather than Flash, basically because of accessibility and that still, HTML based sites offer a more versatile way of presenting your content.

I only use Flash in such a way that it supports the site, rather than using it just for the sake of it. I prefer a good combination of both. I’ll use it in bits of the navigation, subtle ‘background’ animations etc,… nothing that seems too intrusive and doesn’t detract from the overall site, but rather, what I believe, adds just that little extra to a site. It all depends on the content and the message you’re delivering.

Most designers nowadays seem to think in that direction. Most personal, and more and more commercial sites use an almost minimal, clean approach to present their work, sometimes to the extent that Flash is used in such a static way that you might ask yourself, why go through the effort to build a site in Flash that acts like an HTML site? Besides the fact maybe, that you can control your typefaces, I don’t really see the use.

Either way, it looks like us designers have finally started to grow up and use the tools because of the content, and not the content to play with the tools.

So whatever you do, if you’re a Flash kid or not, always design for the content of the site, not because you can make a nice interactive twirl.

Muller has spoken.

Just added some new work to the site that my brother Tim and I completed for Diesel: Only The Brave.

I was invited by my friends over at Hellohikimori as one of a select group of designers to create an online art installation as part of the online campaign for Diesels new fragrance.
The project ended up being a collaboration between myself and Tim, who created all the 3D imagery you see in the piece, while I was responsible for the overall art direction, animation and graphics.

Computer Arts published a countdown of their top 20 designers you should follow on Twitter, and included me (and a “dodgy” quote) in their list. Thanks guys!