"Log Cabin Quilt" From The Sandra McPherson Collection

This is another quilt from the exhibit “African-American Quilts”, courtesy of the collections of Sandra McPherson and Avis C. Robinson, at The Nelson Art Gallery at Hart Hall on the University of California Davis campus.

The “Log Cabin Quilt” reminds me of a log cabin. The concentric squares that radiate from the focal point convey a feeling of structure and security. The four focal points’ proximity to eachother creates one focal point and they also resemble a window, further adding to the log cabin comparison of the quilt. The simple pattern of the concentric squares carries from these four focal points until they become the focal point of a square and the pattern repeats on a larger scale. Each smaller square is constructed of different materials which each have its own color and texture which gives each square its own personality, like separate rooms in a cabin that unify to make it one home.

The two most outer vertical and horizontal lines on the right side of the quilt run off the quilt and give the sense that the squares continue outside the perimeter of the quilt and encapsulate the viewer within its safe, straight, sensible lines. The alternating rhythm of the black and white lines that compose the concentric squares contrast with the focal point of mixed color squares which can represent the dichotomy of the social times in which it was constructed.

The value contrast of the black and white squares also contribute to an illusion of depth in that the concentric squares seem to get deeper as they get smaller even though it is a flat, two-dimensional piece. It draws the eyes further into the center to see more of the four inner squares which unify to create one focal point. These squares draw the eye further to what may actually be the intended focal point, a small red square situated at the very center of the quilt, but is to small in scale to the rest of the patterns to catch the eye right away.

Line and pattern come together to create a “safety” blanket not only in design but the psychological sense of sane and predictable rhythm through line and pattern.

"Piano Keys" From The Avis C. Robinson Collection

The quilt pictured is from the exhibit “African-American Quilts”, courtesy of the collections of Sandra McPherson and Avis C. Robinson, at The Nelson Art Gallery at Hart Hall on the University of California Davis campus.

This quilt in particular stood out amongst the rest due to its vivid and asymmetrical coloring. Upon taking in the whole, it appears as a smooth flat surface of vertically arranged color. This rhythm of vertical strips of cloth creates a paneling effect that visually smoothes out the tactile texture of the wrinkly cloth. Only upon closer inspection of the parts that assemble the whole can the real texture of the cloth and the properties of the different dyes in the cotton be seen.

The vertical lines, which are strips of dyed cotton, create the rhythm of the quilt. The focal point lies slightly to the right of the vertical axis. The red acts as a buffer between the dark and the light and aides in the transition between the two. The red simultaneously reverberates to either side in different hues and “bleeds” down the quilt, drawing the eye all around the piece. The bottom of the quilt is light and airy with varying hues of yellow and other complimentary colors. The quilt seems predominantly yellow, which it is, but it is balanced by the darkness that settles above it in the shades of black and various blues. The asymmetrical vertical coloring is well balanced due to the visual weight garnered by the contrasting colors. The darker colors are heavier and draw the eye more while the yellows are very light and would be overpowered if the colors were equally distributed throughout the quilt. The heavy colors draw the eye to the top where they find the focal point of the medial red that then draws the eyes down the rest of the quilt. A very colorful and emotional journey, psychologically speaking.

The quilt is quite alluring and intriguing. It is a well balanced vision of color and rhythm that is not just a functionally warm quilt, but a visually warm presentation of design and craft.

Jimi Hendrix Poster Designed By Artist Gunther Kieser

Have you ever been experienced…in design? If not, one glance at this poster created by Gunther Kieser for Jimi Hendrix’s 1969 performance in Stuttgart, Germany will. The poster is a lush and brilliantly colored enigmatic masterpiece that is still selling prints to this day.

The scale of Jimi Hendrix is larger than life as his gaze and signature afro fill the piece and become the focal point. From his psychedelically colored face at the center there is a radial balance of vibrantly colored guitar and amp wires plugging into (or out of) his head that appear to jump off the two dimensional surface.

The vivacious curves of the fluid wires provide excellent continuation and give the illusion that the wires continue off the poster and could perhaps plug into your head to create not only a musical but psychological connection with the viewer. The erratic rhythms of the wires would seem unsettling if it were only one, but the repeating effect of all the wires twisting and turning from the thoughts and feelings of Jimi Hendrix’s mind create a unity and let the viewer feel at ease in this chaotic yet serene environment. The wires also serve to frame Jimi Hendrix’s face further emphasizing the focal point.

This image has evaded slippage from its original meaning throughout the years since its creation and will only continue to gain admiration and capture the eye of all who gaze upon its surreal nature. It is a truly original and cerebral piece that has become a classic image of a bygone era. That is the power of design. You have been experienced.

The Air Jordan XI By Designer Tinker Hatfield

The Air Jordan XI (11) is considered the most aesthetically pleasing basketball shoe, or athletic shoe, ever created. The shoe is highly coveted by collectors and sneaker enthusiasts and considered the greatest Air Jordan shoe of all time. The shoe is a unity of elegance and to this day has no equal.

The use of materials blend naturally with the smooth flowing lines of the shoe providing continuation. This enables each material, from the non-traditional nylon mesh and contemporary full grain leather upper, to the classic patent leather encapsulating the foot from toe to heel, to the innovative phylon midsole and clear rubber outsole, and the pioneering carbon fiber shank plate, to cascade into eachother seamlessly. This shoe is where the old shoe of history met the new shoe of the future.

The introduction of the carbon fiber shank plate is what Michael Jordan credits to being able to extend his career. The plate alleviated pressure on his knees and some form of a carbon fiber shank plate has been in every numbered Air Jordan since.

The use of a perennially classic material from men’s formal footwear, patent leather, on a basketball shoe was unheard of and a daring choice and is what has garnered the most attention since it was originally released in 1995.

One of these materials or innovative features showcased alone on a shoe would be novel. But this shoe articulated all of them into one shoe that would forever change how basketball shoes were viewed and how they were designed. The materials create an asymmetrical balance in that each piece could be a focal point in its own right but they all create a tension that balance the shoe and hold it together visually. Any one part of the shoe doesn’t make it special. What makes it special is all of the components coming together in the right places, at the right time, all propelled by the genius of Tinker Hatfield and the ability of Michael Jordan. The inspiration and mystique of the shoe and what it represents and has become is so much more than the physical shoe or any one thing that comprises it.

Tinker Hatfield had introduced style and fashion through innovation to the otherwise utilitarian world of the basketball shoe. It has never been the same since.

"Tinker made them shine.

Mike made them fly.

You made them iconic."
-Message Inside Air Jordan XI Space Jam 2009 Packaging-

Take a closer look with the video by sneakernews.com from YouTube.

Home Decor Designed By Artist Heather Ann Cochrane

This piece is a purely visual, nonobjective piece I picked up at Home Goods to accent my home. It is designed by the artist Heather Ann Cochrane. It is meant to capture the eye and draw attention while filling a void. It thoroughly does its job.
The piece is constructed with a repetition of metal wavy pieces that alternate color to compose the design and are treated with metallic paint that appears oily. The finish is quite spectacular and, depending on where it is viewed from, the interplay of light with the curved forms is always intriguing. The cobalt and bronze alternate to form a pattern of similarity while the wavy metal pieces the colors are painted on form a pattern in their own respect.
The pieces are arranged in proximity to draw the eye up, forming 3 consecutive rows of positive arrows and one final piece at the bottom to bring asymmetrical balance to the piece horizontally. The way the pieces flow together provides a secure sense of continuation that lets the eye breeze over the entire piece effortlessly and this is in part due to the pleasing aspect of the bilateral symmetry of the vertical axis.
While the design of the arranged pieces attempt to draw the eye up, whenever I view the piece I see a waterfall of light and color that drain down the piece, giving it an endless flow of cobalt and bronze. Through Gestalt Theory, the eye and the mind automatically fill in the spaces to create a seamlessly flowing and pulsating presentation of rhythmic reflection. There really is no focal point of the piece because the entire piece is the focal point and creates an almost allover pattern.
The unity of color and arrangement really hold this piece together and make it all the more aesthetically pleasing. A truly unique piece.

The Design of Design

The design of design. It sounds like a loaded statement but it is a necessary conundrum to get at the crux of what it is to design and why we design. Very rarely is design an inert ability that spawns from itself. Design is breathed to life by inspiration. Inspiration from not only within, but more importantly what surrounds us and what we experience.
Whatever is designed, and there isn't much that isn't, is an experience. These experiences infect us and stay with us whether we are conscious of them or not. People like to think that great designs are pulled out of the air by technical or artistic savants, but, the truth is, everything has a precedent. As much as we like to think that we as humans have designed our own world as we see fit, and to an extent we have, we really have just been inspired by what has been and have set forth on an irreversible path of innovation ever since. All designs, no matter how simple or complex, have their origin in the original designer: nature. I'm not here to argue evolutionary or intelligent design, but the fact of the matter is that everything on this planet has been designed at some level. It is only natural that once we have reached the pinnacle of this design, intelligent thought, memory and craft, that we would take the torch and become the designers. Inspired by all that has come before, what is demanded of us now and the possibility of what will be.

The Nike Zoom LeBron VI "MVP" By Designer Ken Link

The Nike Zoom LeBron VI (6) is arguably the sleekest, smoothest, lightest and best looking signature LeBron James shoe yet. The shoe combines the smooth feel of the Zoom LeBron IV (4), also designed by Ken Link, and the clean layout of the Air Zoom Generation, LeBron’s first signature shoe. LeBron shoes before this were notoriously bulky and heavy for a basketball shoe, but this was a non-issue when designing for the athletic specimen that is LeBron James.

What I want to focus on is not so much the design of the shoe itself, but the special MVP edition and the inspiration and details that went into designing this commemorative colorway.

LeBron is well-known for his pregame ritual of throwing chalk into the air and Nike recognized this by creating a "Chalk” edition Zoom LeBron IV. The MVP edition takes it one step further by giving the entire upper the look off a fresh, powdery chalk clap from LeBron himself by using dull, white, distressed leather. The shoe also received other special treatment not seen on any other LeBron VI models. The midsole is patent leather and the soles are clear with metallic gold flake, a nice touch.

The shoe itself is kind of quiet except for the dramatic prints which are a statement of LeBron’s game and career. The heel tabs of the shoes feature Nike’s campaign for LeBron, “WITNESS” printed across both tabs. Behind the tab of the left shoe “08” is printed and on the right “09”; this is for the NBA season he was awarded the regular season MVP award. The forefoot straps have the words “WITNESS”, “MVP”, “08” and “09” scrawled across both shoes in the same large block print that adorns the rear of the shoes and the inside part of the double lined upper.

To find inspiration to design LeBron’s signature shoe is hard enough, but to create a commemorative shoe of such magnitude with only color, material and print/graphics as options is another task. Ken Link had to look beyond LeBron James the person and the player, the inspiration for the shoe, but to LeBron’s career, on-court performance and persona to give this shoe its own identity feel. This shoe became as anticipated as LeBron’s first MVP award. Let’s hope it is not the last and the inspiration keeps coming.

The Nike Air Yeezy By Designer Mark Smith in Collaboration with Kanye West

The Air Yeezy is the first signature shoe for a non athlete produced by Nike. The shoe is the collaboration between legendary Nike designer Mark Smith and the ever innovative and controversial Kanye West. The shoe was well hyped leading up to its release just because of the names involved, but what a lot of people over-looked was an elegant, under-stated design made of premium materials that was constructed equally well.

The soft, supple perforated leather on the forefoot of the shoe is like none other that I’ve encountered on what is being deemed a “basketball” shoe but is better situated as a “lifestyle” or casual shoe.

The color blocking is very subtle on the exterior with shades of “zen grey” and “light charcoal”, but the liner of the shoe explodes with neon applications of pink and orange. This subdued exterior and vibrant, in-your-face interior is a wonderful analogy to not only the inspiration of the shoe, Kanye West, but the dynamic between its creators. The high cut of the shoe and over-sized tongue is also a throwback to the basketball shoes of the 1980s which Kanye is a fan of.

The lines are clean and few and far between. The use of large, one-piece cuts from heel to toe give the shoe a sense of being larger than life, but when it's on your foot, it loses this physical illusion of grandeur but the psychological remains. The repeated "Y" pattern that adorns the suede toe-cap and patent leather mid-foot strap take on the look of a textured material rather than the imprints they are. The shoe is clean and crisp. The vibrant colors of the well-padded and securely snug interior seem to warm your foot from their hue alone. The novelty of the shoe doesn't end with it just being a Kanye West Nike shoe. The outsoles are made of glow-in-the-dark rubber that reacts to the sun very well and appears to glow even during daylight. Something that has been done on various parts of Nikes before, but this marks the first time the entire outsole has been given the treatment and this is the best it has ever looked.

Kanye used Nike shoe history, as well as his own aspirations, vision and "Glow In The Dark Tour" to make his contribution to the shoe while Mark Smith provided his unparalleled expertise in not only design, but the process involved in design to create a truly unique and highly coveted shoe (as usual). Both had to look beyond themselves for inspiration which I find truly inspiring due to both of their lofty statuses in their respective fields. This shoe is a testament to design, not only as an aesthetically beautiful, well constructed shoe, but the design process which proves that great design is fostered in teamwork and proven in cohesive execution.

"Supeui Giok - Memory of a Grove" By Designer Hyunju Lee

If “Haha Hoho” and “Huh Huk” are the extremes of emotions, then “Memory of a Grove” is the quiet transition between the two. The piece breathes and exhales tranquility, inducing a sense of serenity to those who stop and take the time to appreciate it. The colorful blossoms that encapsulate much of the script incorporated into the image are a beautiful array of pastels that are as peaceful as the grove they represent, or should I say the memory of the grove they represent.

The vertical lines that stretch the piece aid the viewer in stretching the imagination. The lines bend in a naturally whimsical manner adding to the organic chemistry of the piece as a distant place, whether it be space or time. The well-balanced use of color as well as the larger script prints in the lower left and upper right give a comforting sense of symmetry and protection as all is bound within the naturally curving, vertical lines. The protected peacefulness of the grove is projected onto the viewer and both confide in eachother. This piece is truly beneficial to all who encounter it and all who encounter it benefit the grove by creating another memory of it, enabling it to live on outside of its geographical location and printed representation.

"Haha Hoho" & "Huh Huk" By Designer Hyunju Lee

These two pieces are my favorite from the exhibit. The pieces represent the emotions of sadness and joy which respectively translate into the expression of those emotions, crying and laughter. "Haha Hoho" is a joyous occasion from the first glance. The subtle positive bend of the lines encourage you to mimic the movement with a smile of your own. The wispy lines appear to run across the entire canvas but actually taper and reappear or completely disappear. They could be said to represent the lips of a thousand smiles with each symbol of hieut bubbling from beneath the lips to create laughter within the piece. The different colors and sizes of the characters reflect the different sizes of laughter from a subtle chuckle to a repeating cackle to a robust merriment of laughter. On the other end of the spectrum, but in line with the previous, "Huh Huk" is the sound of sobbing in Korean and this piece somberly displays it. In contrast to "Haha Hoho", "Huh Huk" is a gentle, melon collie expression of sadness. The lines run straight across horizontally, never breaking or bending. The piece has a determination to show no positive emotion. The drab colors underline that and the symbols are considerably less numerous, vibrant, and varied in size when compared to "Haha Hoho". The symbols become the universal expression of sadness, tears. The two pieces paired together give a soaring sense of jubilation and pessimistic crash back to reality. The space between the pieces leaves the audience to create its own closure as to why the drastic change of emotion. What happened between the two to cause such conflicted expressions? The pieces are a very good use of line and color to express what everybody on Earth can identify with, the balance of emotions and the calm between the extremes.

"Typographic Exploration In Hangul" By Designers Hyunju Lee & Phil Choo

"Typographic Exploration In Hangul" is an exhibition taking place in the Design Museum in Walker Hall at the University of California Davis that features typographical works of Korean designers Hyunju Lee and Phil Choo. The exhibition features pieces of typography in Hangul, the adopted script of North and South Korea.
Having recently read Scott McCloud's Understanding Comics, I viewed the gallery as a series of pictures telling a narrative and conveying action, emotion and history. I viewed the gallery as a comic. The stark white back-drop on some walls accompanied with the predominately square and rectangular pieces must have triggered this perception. The space between pieces became "gutters, the space between comic frames, leaving the mind free to create its own closure in discerning what happens between images and why they have happened. Some pieces were purposefully paired creating a moment-to-moment representation and before long it was on to the next piece which created a scene-to-scene experience. Viewing the entire gallery in sequence created some non-sequitur "frames", except for the fact that all the pieces revolved around the characters of a language that strung them together as much as any language has strung together the differences, commonalities, and heritage of any culture.
The sequence of all the images immerse you in another world, that of the Hangul script. Without knowledge of the language or the first clue of how to pronounce any characters, I could still feel and understand each piece as they created moments of joy as well as somber, quiet reflections and moments of uncontainable energy. It brought the characters of the language to life and they became more than symbols of sounds and ideas. They became symbols of the universal language of emotion conveyed by design.

The Air Jordan XX3 By Designers Tinker Hatfield & Mark Smith

One look and you can tell this isn't your average basketball shoe. What I especially like about the shoe is that there is nothing else that has looked like it before and there has yet to be anything comparable since. The shoe is the last in the long line of numbered Air Jordans stretching back to 1984/85 with the Air Jordan 1. The XX3 evokes a nostalgia and aura that stirs emotion in the hearts of sneaker collectors and Michael Jordan fans. The shoe becomes a symbol of Michael Jordan's unparalleled career which served as inspiration and enabled Tinker Hatfield and Mark Smith to capture the mystique and prestige of the man himself for the 23rd anniversary of Michael Jordan's signature shoe line. What the shoe represents almost outweighs what it actually is; a very well designed and aesthetically pleasing shoe.
The silhouette is sleek and smooth which compliments the organic lines that construct the shoe. The smooth, simplistic lines of the shoe come together to create a complexity of arrangement with strategic placement of computerized stitch patterns on the medial and lateral sides of the shoe and the geometrical patterns which serve the purposes of support, weight reduction, and flexibility that comprise the seamless, one-piece midsole that wraps the entire shoe.
Design is not just what looks good, it is also what works well (if its intended purpose is to be functional). While I don't have the time to address every innovation on the shoe, I will concentrate on the most innovative feature of the shoe which appears to be the simplest (which was anything but). It is two little holes affixed to the tongue of the shoe that serve as guides for the laces. This very simple idea serves its exact intended purpose beautifully while not subtracting anything from the overall design and flow of the shoe. It could even be said it enhances it.
The smooth patterns and interaction of natural, complimentary lines of the shoe are especially pleasing to the eye and enable you to receive the many complexities of the shoe as a simplistic whole which flows 360 degrees around the entire shoe. They all run together like the shoe was a piece of clay in a stream molded naturally by time. And that, in essence, is how this shoe came to be. This shoe is design, form and function in harmony as demanded by Michael Jordan for the benefit for all sneaker enthusiasts.