Waring’s best selling blender, the Professional, turned 75 this year. The photo above (then) is probably early 40s. The below photo (now) is the latest in the Professional line. I’ve used this model for over 20 years and aesthetics did play a part. It made a retro statement amid a sea of mediocre styling. There’s also a lot to say for simplicity for what a blender does. If you didn’t own one but frequented a bar from time to time you knew this appliance was loud. An accurate [ review ] No complaints and fond memories. Happy birthday.
apple logo steals some buzz from new ipad3 launch.
the rainbow logo ( 1976 – 1998 ) was designed by rob janoff. the last logo change was in 2003 per wired.
the yerba buena center for the arts in san francisco, where wednesday’s event took place.
The plain (and frankly, badly designed) main page for Vintage Ad Browser, Philipp Lenssen’s database of over 100,000 advertisements belies a wealth of images that span from the late 1700s to now, covering everything from beauty, home gadgets and clothing to propaganda. There’s even a beguiling ‘future’ category, full of ads that predict what the radios, TVs and transportation will look like in fifty or a hundred years. One ad presents a highly stylized image of a flying bus; Another claims that by 2055 we’ll be farming underwater “to feed a hungry world!” A 1953 Bell Phone System’s ad features a black and white photograph of a young boy asking, “What will the telephone be like when I grow up?”
There are thousands of celebrity endorsements, too. Mark Twain apparently hawked Campbell’s Tomato Soup, Joan Fonatine was the face of PBR and Lucille Ball put her name on everything from sandals to cigarettes, soda, soap and beer. My favorite ads are from the ‘technology’ category, not only for their kitsch factor (can you imagine trying to sell a computer bigger than an antique armoire?), but because they also happen to be the most refined. They remind me of the streamlined infographics from the economics magazines of the 50s, a style that clearly pervaded other so-called ‘serious’ print content. You don’t, for example, see the same style applied to the beauty ads of the same era. As a historical resource it’s invaluable, and it’s also a great source of inspiration for designer’s block.
The database is not only incredibly thorough, it’s also searchable by type of ad and even by color. And if you see an ad you really love, there’s a link to buy it from Lenssen’ eBay store.
charles and ray eames | dcm | herman miller 1946/1970 | photos courtesy of wright
Apple products combined cutting-edge design with cutting-edge technology. American ate it up. You don’t always (or usually) get such class acts in the consumer marketplace.
But I want to underscore another class act in American functional design: Herman Miller. I have an Eames chair (the one with the metal frame and wood back and seat) that my father-in-law used in the office of the building supplies business he built after he and and his wife fled Germany in 1938. Many of their possessions reflected the mid-Century modernist taste.
Unfortunately and non-intentionally a relative somehow broke the back off the chair shortly after my husband died. I wanted it fixed appropriately. Someone advised me to take it to an art gallery that specialized in mid-century modernism. But I just called Herman Miller and asked if they could fix it.
Well, you would have thought I was the First Lady by the way I was treated. As promised, shortly after the call I received two emails with my case number, a sample UPS label and a personal note from the woman with whom I originally spoke who had an expertise on whatever product anyone wished to return.
It turns out that Herman Miller simply needed to remove the broken molding on chair’s back, send it back and I could reattach it using a standard screwdriver. My contact advised me it would be a 3-4 week turn-around. Instead, I received the rebuilt back piece within a week of sending it.
It’s difficult to describe the feeling I had: the confidence that Herman Miller was actually taking care of me and my priceless family heirloom. My in-laws, carried the Bauhaus sensibility with them when they sought refuge in America.
This is not a story of bravery, heroism, moral enlightenment or anything like that. It is simply a statement of appreciation for a level of care and professionalism that all too often is missing in America today. My chair, whole again, represents a heritage I want to pass on.
specifications: designer:charles and ray eames producer:herman miller object: dcm 1946/1970 | ash, chrome-plated steel, rubber, plastic | 19.25 w x 22 d x 29.5 h inches
a bit of history — this steel lunch kit appealed both to counterculture teens and patriotic construction workers. a serendipitous happening, with 9/11 fresh in mind this lunch box was found in vintage shop on 9/14/2001, and has been moved around our home for nearly ten years. It still serves as a reminder. [ national museum of american history ] [ alladin ]
opening the case by unscrewing the ribbed cover reveals the time setting buttons, the battery and the tubes.
inspiration circa 2002, jeff thomas watch
Design has always been a struggle or even a balance of new and old, designers look to the past for what has been done in order to have inspiration to design something different. In the case of the nixie watch old vacuum tube technology meets modern cool watch and the results are amazing. Lets just call it ‘retro-modern’ for now but no matter what you call it still might just be the coolest modern old watch on the market today.
In 1993 Steve Jobs talks about his logo designer for Next, Paul Rand. Encounter exposes a common thread between them.
For example, did Jobs talk to other designers? No. Rand was the only designer Jobs approached. And Jobs asks if Rand will show him a few options. Rand says, “No, I will solve your problem for you and you will pay me. You don’t have to use the solution and if you want options go to other people. But I will solve your problem for you the best way that I know how.”
Editor’s note: I chaired a conference on corporate identity for the STA (Society of Typographic Arts) before becoming the American Center for Design and I called Mr. Rand four times asking him if he would speak. Well, it was not going to happen. He said he didn’t go to these things, period. Yes, very curmudgeony. The final speakers were: David Strong (David Strong); Robert Burns (Burns Cooper and Hynes); Phil Seefeld (Landor); John Massey (Container Corporation); Wayne Webb (RVI Corporation); Herb Murrie (Murrie White Drummond Lienhart).
Five years later I co-chaired Trademarks USA2 for the STA. Thinking Mr. Rand needed a more esteemed roster and asked: Saul Bass (Bass Yeager); Ivan Chermayeff (Chermayeff & Geismar); Walter Landor (Landor); Walter Margulies (Lippincott Margulies; John Massey (Container Corporation); Wayne Webb (RVI Corporation). Of interest, first time the Walter’s met face-to-face. Mr. Rand said thanks but it was going to be paralysis due to over analysis. He asked if I put this much time into solving design problems.
The IBM Selectric typewriter was introduced on July 31, 1961. A highly successful electric typewriter that eventually captured 75 percent of the United States market for electric typewriters used in business. It wouldn’t be a stretch to state that for many small offices the Selectric was their first equipment purchase. The innovative Selectric replaced the traditional typewriter’s moving carriage with a paper roller (“platen”) that stayed in position while a typeball (below) and ribbon mechanism moved from side to side.
ibm selectric typeballs.
Typeballs were a new typesetting technology used by the IBM Selectric typewriters. When the typewriter was operated, the typeball rotated to select the right letter, followed by striking the paper. The typeballs could be changed to select different fonts and characters, making it ideal for use in the printing industry and marking the start of desktop publishing.
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