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Introducing the New IDSA Job Board - Powered by Coroflot

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It has been only a few short months since Core77 and IDSA officially joined forces in our new strategic partnership, but members from both organizations can now enjoy one of the first fruits of their new relationship. We are very pleased to unveil the IDSA Job Board as the latest addition to the growing Coroflot Design Employment Network.

IDSA is the flagship organization of our industry, so their new job board is a huge step forward in providing the most comprehensive job search and employment resources for employers and working industrial designers. We are excited to be reaching a greater audience and serving them the most relevant job listings in the industry.

Take a moment to check out the new job board here and discover all the opportunities it has to offer.

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One to Watch: Matthew Waldman's Upcycled Vessel Gives New Meaning to 'Coffee Pot'

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Love 'em or hate 'em, there's no denying that Nooka has pioneered a design language unto itself. Founder Matthew Waldman and his team have successfully reinvigorated a familiar form factor with novel UI elements to essentially remix the wristwatch for the digital age and beyond. But if his latest venture seems like a radical departure, it's worth noting that it's not the first time he's explored eco-conscious design: back in 2010, they unveiled a packaging design that can be reused as tupperware.

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Indeed, Waldman cites Nooka's experimental packaging—as well as their 2012 Dieline Award winner—in the Kickstarter pitch for his latest venture. We can only imagine that the concept behind his new product, Pothra (rhymes with Godzilla's sometime nemesis), was a virtuous cycle of coffee-fueled ideation about what to with the coffee grounds. (There must be a joke about a watched pot never boiling, but your humble editor happens to be a bit overcaffeinated to focus on punning at the moment.)

It's definitely food for thought (or rather, food waste for thought), though I'm curious as to whether there are other benefits or disadvantages to using coffee grounds They're certainly a staple of household compost systems, but I imagine the resin precludes the possibility that the raw materials might be converted into fertilizer. Conversely, they note that they're looking to use biodegradable resin, which raises questions about the lifespan of the product.

MatthewWaldman-Pothra-detail.jpgDetail - each Pothra is unique, depending on the roast of the beans

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The Rise of the 'Designeur': IDSA Western District Conference Recap

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IDSAWest-KarenHofman.jpgKaren Hofmann of Art Center College of Design

Reporting & photo by Lisa Krohn

Remember the days when all you needed to be a crack industrial designer was a knack for drawing, rendering and model making? Then we added the skills of how to talk to clients and well, that already seemed like enough. But then throw in 3D modeling and rendering, the understanding of materials—how they interact, their underlying structure—and how things are made, both for prototypes and for mass-produced objects. But wait. Now the online world is possibly more impactful than the "meat" world—so add web and mobile savvy, search engine optimization and you haven't even gotten started, because guess what? Now we all need to be fantastic entrepreneurs too. Oh, and that corporate job you might have hoped for after racking up a sizable student debt for your design training just might not really be around any more. Why? Because we are living in the era of downsizing and shifting jobs from full to part time to freelance to overseas. Now this may all seem gloomy, but the speakers at this year's IDSA Western District Conference—held at the Long Beach Hilton Executive Meeting Center on April 12–13—presented some serious silver linings to these storm clouds.

Dario Antonioni of Orange22 Design Lab came to the podium singing the praises of this new order, declaring that the design consultancy model is obsolete. His company had 15 full time employees until 2008, but now he has none. Instead, he works with a network of services and partners throughout the world—he's done with working 9-to-5 (or more).

Antonioni and his fellow "venture incubators" believe that if you look at it the right way, we are in the midst of a renaissance for designers in that funding for independent entrepreneurial projects is more accessible than ever before. It turned out that most of the speakers at this conference share his belief that there is a much more democratic system emerging for "pitching" your ideas. Unlike even the recent past, when designers needed a great job, client, investor, angel, venture capital group or independent means to take an idea beyond the drawing board, there are three cool new ways to bring your ideas to life:

- Preselling - Where 50% of the retail price of an item is collected at the time of the order, used to produce the item, for which the balance is charged at the time of shipping.

- Licensing - a.k.a. renting your ideas and designs.

- Crowdfunding - The best known platform for this is Kickstarter, where you go public with your design in the form of a video similar to a movie trailer and raise the money to produce your project from friends, friends of friends, family and strangers.

Dario related his recent success with a furniture venture, the Botanist Series, which he marketed by inviting high profile designers to decorate a minimal but otherwise generic bench or table with color, etching, graphics and perforations. Each guest designer chose a charity to support with a percentage of each sale. All of this contributed to the buzz, which allowed Dario and his now virtual team to raise almost $37K to be funded on Kickstarter.

But Dario wasn't the only designer in the house who is streamlining his company while increasing its global reach and recognition. Art Center graduate Gabriel Wartofsky also successfully used Kickstarter to raise the $25K he needed to produce his brilliant Conscious Commuter folding bike, which has a rechargeable electric motor for the urban commuter. He felt that the three keys to a winning new product are: marketability, technical feasibility and protectability. He also mentioned that research is about "getting out of the bubble of your own mind."

Conscious Commuter by Gabriel Wartofsky

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U.S. Government's Never-Ending Quest to Design the Most Difficult-to-Manufacture Object

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How can you ensure your product design never gets knocked off? By manufacturing it with proprietary production methods and materials no one else has access to. That's always been the government approach to making currency, which is arguably the number one thing you don't want people knocking off. But as manufacturing techiques trickle down, and now that digital imaging has become child's play, the design of physical currency has to continually evolve. That creates a situation essentially the opposite of what industrial design is: Currency makers have to design something that's as complicated as possible to manufacture.

This week the Federal Reserve announced that a new, redesigned $100 bill is coming out, and as you'd expect, the thing is a cornucopia of proprietary manufacturing techniques. It's got embedded thread imprinted with "USA" and "100," and when you hit it with a UV light the thread glows pink; it's got the X-ray thing where a blank space on the bill reveals a hidden face (Benny Franklin) when it's backlit; the copper-colored "100" turns green when you tilt the bill.

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It's also got a "3D Security Ribbon" (that blue stripe you see) containing images of a funky bell that turns into a "100." So where's the 3D part? The bell/100 appear to move and shift in a 3D, holographic way while you wave the money around, as we in the Core77 offices do during our weekly dice games in the hallway with the building superintendent and the FedEx guy.

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A Different Kind of 3D-Printed Music, by Rickard Dahlstrand

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Earlier this year, we had took a look (and listen) at Amanda Ghassaei's 3D-printed 33's. I suppose it's no coincidence that the muffled but recognizable playback obliquely evoked the soothing sounds of "a printer or scanner arm moving back and forth across a two- or three-dimensional stage." Swedish art hacker Rickard Dahlstrand apparently arrived at a similar conclusion, but he's upped the ante by actually programming a 3D-printer to chirp out ditties, "using a Lulzbot 3D-printer to visualize different classical musical pieces." On the occasion of the recent Art Hack Day in Stockholm, he took the opportunity to "explore the alternative uses of 3D-printers to create unique art by 'printing' classical pieces of music while at the same time acting as an instrument and performing the music itself."

In short, the step motors—which control the movement of the stage and print head—generate pitched tone based on their speed, such that it is possible to predict discreet tones by varying their speed. "Microphones on the motors pick up the sound and amplify it." I imagine Dahlstrand determined the correlation between the output in space (XY coordinates) and as sound in order to transpose the tunes as CAD files; the current repertoire includes Beethoven, Rossini, Mozart, Strauss, Bizet and Williams (John, that is).

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It's Time To Raise the UX Bar with Vodori in Chicago, Illinois

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Work for Vodori!



wants an Entry Level UX Designer
in Chicago, Illinois

You know how important the look, feel, and function of online tools are to those who use them. You also know how to weave all those factors together into one glorious, seamless online experience.

You are the entry level UX Designer Vodori wants on their team.

Vodori was founded in 2005 by people who disagree with the status quo, and they've been providing exceptional digital agency services ever since. As part of their team, you'll be responsible for working closely with all departments to define and solve problems, quickly comprehend high-level concepts and contribute ideas for execution, and act as an evangelist for UX/UI best practices to others.

You'll need a degree, some experience and knowledge of relevant practices and software, and in return, you'll get to enjoy the amazing benefits package found on the next page.

Click Apply Now to see it all!

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Makin' Money: '19th Century Craftsmanship' is At the Heart of Creating 21st Century Currency

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While the precise details of how the U.S. manufactures currency are secret, the overall design and manufacturing steps are not. On this page the U.S. Department of Treasury lays out the entire production process, describing the design phase, engraving process, offset printing, platemaking, et cetera. They even describe how the paper comes in on palettes of 10,000 sheets.

More fascinating is listening to Larry Felix, current Director of the Treasury's Bureau of Engraving and Printing, explain how "19th-century craftsmanship" is at the heart of designing and manufacturing currency. Human beings carve insanely detailed images into metal plates (backwards, of course) using hand tools like this:

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The craftsmanship required to wield these tools becomes the defacto first line of defense against counterfeiting. "If I were to ask any one of my banknote engravers to engrave the very same design, exactly the same, twice, that person can't do it," Felix explains. "Because of the subtle human nature of designing. The human aspect of engraving a banknote is unique to that individual process and unique to that time."

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Handmade Balls from Around the World in *The Art of Sport + Play* Exhibition

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To borrow a sports metaphor, this intimate exhibition of author and motivational speaker Kevin Carroll's personal travel memorabilia, punches above its weight offering a surprising amount of inspiration for both designer and layperson. The Art of Sport + Play focuses on Kevin's collection of hand-crafted balls from across the world. The balls' materials, construction techniques and various states of wear are provocative and beautiful but the resourcefulness of their creators—often children in dire conditions—is the real subject and inspires the viewer to pursue their own can-do path of DIY self-sufficiency. The collection makes tangible our undeniable human need for play and the motivating power of passion. If you are in Portland, catch it while it's still up:

The Art of Sport + Play
Mercy Corps
Portland, Oregon
11am – 5pm, Monday–Friday
Now through July 31

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Hit the jump for more...

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Stunning New Stencil Work from 'Escape Artist' David Soukup - Exhibition Opens Tonight in Chicago

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We were duly impressed with David Soukup's painstakingly detailed stencils when we first saw them back in 2011—I could hardly believe that some of those ultrafine lines were stenciled and not applied by an implement (or at least masked off). He's pleased to announce a solo show at Maxwell Colette gallery in his current hometown of Chicago: "This show is one of my most personal to date, and marks a return to some of the imagery and technical precision that I became known for."

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I hadn't realized that he lost his way (the mural project, pictured above, dates to October of last year), but earlier this year, Soukup wrote that "I had been cutting stencils for so long that I really lost what made them most important to me, and why I started doing them in the first place."

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In any case, we're glad he's back on track with his first exhibition in 16 months, featuring "over 20 pieces of new work (both stencils and screenprints)." The title, Perennial Escapism, is an obvious play on the subject matter, but the rather literal take on an exit strategy belies the integrity of the subject matter: the imagery is "derived from the artist's own photographs of early 20th century wrought iron fire escapes in Chicago." To hear Soukup tell it:

This work represents a personal 'escape' so to speak. I went back to what first made me passionate. I drew inspiration not just from the city imagery itself, but from the textures, the grit, and the distress that makes up a city. Perennial Escapism marks the beginning of a new direction, one I've never been more excited to pursue.

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Where his previous work was more collage-y and surreal, the stark new compositions evoke film stills, superimposed on a baselayer of impasto on the wood panels to achieve the effect of a vaguely patina'd or otherwise weathered surface. Per the press release:

Soukup's paintings combine visual elements of graphic design and collage with the tactile elements of paint and reclaimed materials to create decidedly urban motifs. He hand-cuts the elaborate stencils, some up to four feet in length, that are utilized to create his paintings. The resulting latticework of iron bars and shadows echoes the visual experience of his everyday life, and reflects his obsession with meticulous detail.

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We're pleased to present an exclusive preview of Perennial Escapism:

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New Work from Studio Gorm

Were Older U.S. Currency Designs More Aesthetically Pleasing?

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The new $100 bill we looked at is loaded up with anti-counterfeiting measures. As a result, the thing is butt-ugly, no? Way too crowded with design elements, and some of you will insist that older money is a lot classier-looking. Well, not so fast--let's go back to the 1860s, when the U.S. Treasury first began issuing paper currency. Have a look at this $1 bill from 1862:

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The $2 bill from the same year doesn't look much better:

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And 1862's $5 bill gets even crazier, wedging in a statue of Freedom personified under a Romanesque arch, with Alexander Hamilton hanging out on the lower right:

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Revolving Room and Luminous Textiles: Patricia Urquiola for Kvadrat

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Kvatdrat_Urquiola_panels.JPGKvadrat Soft Cell panels line the entrance of the Moroso showroom

Celebrating Patricia Urquiola's first textile collection for Kvadrat, a feast of the senses was organized at Moroso's Milan showroom during Salone. Entering through a hallway lit with the dynamic glow of Kvadrat's Soft Cell panels, guests were welcome into the main showroom where rotating columns of embroidered fabrics were hung around the circumference of the space.

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The Revolving Room honored a spirit of collaboration—between Urquiola, Moroso, Kvadrat and Philips—as a showcase of the myriad possibilities for textile application. The Urquiola-designed Kvadrat collection was the filter on the acoustic lighting panels, an embroidered skin on the rotating architectural columns, the fabric on Moroso furniture and a material transformed into bowls and inspiring food design by I'm a KOMBO for the communal table.

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Kvadrat Soft Cells are large architectural acoustic panels with integrated multi-colored LED lights. These "Luminous Textiles" provide an ambient glow of light filtered through the textures of Kvatdrat fabrics. The modular panels are based on a patented aluminum frame with a concealed tensioning mechanism which keeps the surface of the fabric taut, unaffected by humidity or temperature.

The magic of the panels lies in Philips' LED technology which allows architects to control content, color and movement projected from the panels. The Kvadrat textiles provide tactility and sound absorption qualities even when the Soft Cells are static.

Core77 had an opportunity to speak with Urquiola on the collaboration with Kvadrat on the occasion of the collection debut. As the first designer to create a collection for the Soft Cells panels, we were interested in learn more about the process of designing across different mediums and working with light.

Kvatdrat_Urquiola_all.JPGFrom left to right: Anders Byriel, Patricia Urquiola, Patrizia Moroso

Core77: This is your first time designing textiles for Kvadrat. What was your design process like and how was it different than designing furniture?

Patricia Urquiola: We worked in two ways. The first process started with the idea of "applying memory," to create a fabric that looks like its been worn with time. This fabric will not get older in a bad way because it is already "worn." The passage of time will be good for contrast.

The other idea was to work with digital patterns. We have been working with ceramics as part of my research in the studio for a long time. Part of these patterns were in my mind as we were searching for new tiling designs. I am working with Mutina, where I am the art director, and we're trying not to work in color—exploring bas relief and a treatment of the tiling.

One pattern is a kind of matrix—its kind of a jacquard. We're working with a classic technique in a cool wool, but in the end, you have this connection with a digital world. The contrast of the jacquard is sometimes quite strong and sometimes more muted—you can see and then not see the matrix.

And then there was the possibility to work velvet—opaque and quite elegant. We use a digital laser cut technique. They are patterns but not. They give an element to the fabric but they are still and quiet.

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These are digital techniques but the process to create all three patterns was quite complicated. I'm happy because we explored three complex processes but they turned out amazing.

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Break The Mold as a Graphic Designer with MKTG INC in New York, New York

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Work for MKTG INC!


wants a Graphic Designer
in New York, New York

You see the world in three-dimensional color. Your have a collection of compelling logos, marketing campaigns, and inspirational design that you have seen and/or created throughout the years. You have a passion for brands that break the mold and you consider yourself a connoisseur of transformational design.

If fast paced environments invigorate you and bring out your best work and you don't see yourself limited to two-dimensional design, then this may be the opportunity for you!

Click the link below and apply to work with MKTG INC, an international marketing services agency that builds global, national and local communities around brands though experiential, digital and social media.

Apply Now

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Tom Donhou's 100MPH Singlespeed Bicycle, Plus More Than You Ever Cared to Know about Human-Powered Vehicles (in a Single Archive)

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Donhou-HPVCOMP.jpgImages by Oli Woodman, IHPVA&Fred Rompelberg

Earlier this week, we picked up on Sam Pearce's Loopwheel, which was unveiled at last month's Bespoked Bristol show (generally regarded as UK's response to NAHBS), for which Pearce is currently seeking fundingvia Kickstarter. Tom Donhou's booth was another standout from the third edition of the show—thoroughly documented in a photo gallery on Bike Radar—specifically, his head-turning fixed-gear, built expressly for speed.

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Indeed, Donhou is stepping up to the plate, so to speak, in an attempt to break 100 mph on a relatively standard diamond-frame bicycle. The disc that vaguely resembles a chrome pizza is, in fact, a 104-tooth chainring—roughly twice the size of the standard 53T big ring on most cranksets—custom fabricated by Royce. (Assuming the cog is somewhere in the 12–15ish range, Donhou's contraption is geared at an astronomical 200+ gear-inches; for reference, Wikipedia notes that "a gearing in gear inches the same as a person's height in inches is a comfortable gear for riding on the flat." In other words, the obscene gearing would be comfortable from someone no less than 16’8”.)

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Donhou admits that he was somewhat chagrined by early press that misrepresented his machine as a contender for a world record, he set the record straight in Road.cc

I'm really into land speed record stuff, in the 60s when the guys were battling it out down on the salt flats almost doubling the speed limits in a couple of years, I love all that stuff. I know a bit about cars but I could never afford to take a car over there...

So I built this with the intention to feel it out, I don't know how fast it can go, that's my best guess as to what I can do. I built the bike how I thought it should look. No wind tunnels involved, it's all grassroots, it's done in that spirit of those guys in the 60s testing jet engines in their sheds. It's that spirit. We'll see if we can stay on it if we get up to 100mph. We've tested it up to 60mph.

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Donhou is confident that he can break triple digits, though he acknowledges that the effort is something of an ad hoc endeavor: although my fellow cycling enthusiasts know that Columbus MAX tubes are among the best available, Donhou has been booking a decommissioned airstrip as weather allows; a modified Ford Zephyr serves as the pacecar. As he told the Telegraph, "What started as just a bit of fun started to get a lot more serious pretty quick and now we're gunning for 100mph. It's just been really DIY, there's not been a load of money put into this."

Donhou-handlebarDetail-viaBikeRadar_OliWoodman.jpgThe dropped bars are also pretty intense, though these have been de rigueur for pursuit/TT bikes for decades. Photo by Oli Woodman

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The Best-Looking-Ever U.S. Money was Designed in the 1890s

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Last week, we saw the graphically chaotic mess of the U.S. Treasury's first currency designs in the 1860s. By 1890 the U.S. $1 bill was still all over the place, from a graphic design standpoint:

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But by that same year, the $5 bill was taking on a shape remarkably similar to the one many of us grew up using. It has a centralized portrait within an oval frame and a symbol in each corner (though they're still hanging onto that Roman numeral thing).

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Cool as it is, that bill remained a design anomaly and the centralized portrait would not become a standard design element for decades, though it would make an occasional appearance.

Later in the decade, however, money really started to get cool. In the late 1880s Congress had authorized the creation of special bills backed by silver, and by 1893—after a presumably exhaustive search—the Treasury's Bureau of Engraving and Printing finally settled on a small group of artists with the skillz to create these new Awesome Sauce bills. As we saw in a previous entry, carving intricate images into metal takes forever, and it wasn't unitl 1896 that their kick-ass Silver Certificate bills were ready to go. They were unlike any that had come before:

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That there is the front, which is so artsy it's got a name: History Instructing Youth.

Will H. Low's design for the $1 note, entitled History Instructing Youth, shows a female History with a young student standing beside her, gesturing to an open book of history before her. An olive branch rests against the book, holding it open to show the Constitution of the United States upon the page. Both the Washington Memorial and the Capitol Dome can be seen in the background landscape. The outside border of the note shows 23 wreaths, each bearing the name of a noteworthy American - not surprisingly starting with Washington, Jefferson and Franklin, but also including such names as poet Henry Longfellow, inventor Robert Fulton, and author Nathaniel Hawthorne, among many others. The seal of the Treasury appears in the lower right.

Here's the flip side, done by different artists in the crew than Low, who probably had his hands full with the front:

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The back of the 1896 $1, featuring intricate geometric lathe work and a winged, shield-bearing Liberty in each of the upper corners, carries traditionally-styled portraits of both George and Martha Washington. The portraits were engraved by Alfred Sealey and Charles Burt, respectively, and the overall design of the back was the work of Thomas F. Morris.

Take a closer look at how exquisitely intricate the carving was:

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Beer for Boomers: Heineken Challenges Designers to Innovate for 60+ Year-Old Drinkers

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Content Sponsored by Heineken
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Heineken is pleased to announce the next challenge in their ongoing Ideas Brewery innovation platform: they're inviting designers to come up with new ways to reach and reinvent the beer-drinking experience for the 60–70 year old demographic, based on crowdsourced observations from earlier this year.

An often over-looked demographic, Heineken is using its crowdsourcing platform, IdeasBrewery.com, to gather ideas on how to cater for this 'liberated' generation of consumers who enjoy more freedom from jobs, children, stress and strive more for quality of life, well-being and self-development.
HEINEKEN invites creative people from around the world to submit fresh ideas that will enhance the drinking experience for 60–70 years olds, taking into consideration the beer, the packaging and serving method. The challenge is to cater these new propositions to the unique lifestyle, attitudes and needs of this group. This is the second stage of the Ideas Brewery campaign which was launched at the beginning of the year, where Heineken challenged the public to submit their observations on the lifestyles for 60+.
These insights, gathered from consumers across five continents via IdeasBrewery.com, fell under three main categories and should guide the thinking for the 60+ Ideas challenge responses:
- Quality experiences: The 60+ demographic is becoming increasingly more quality focused. The quality of a meal or beverage far outweighs the quantity for these consumers.
- Learning and re-discovery: This generation is committed to continued learning, new perspectives and self-development. They want to stay relevant and vital.
- More time for social activities: The 60+ generation of today has more time, space and liberty to enjoy hobbies, sports and traveling. They have a strong attraction to new or more frequent activity-related social occasions

Entrants have until June 27 to submit their best ideas on IdeasBrewery.com for a chance to win a share of the $10,000 total cash prizes. Following the entry period, Heineken will select six finalists to a two-day workshop in Amsterdam; an expert jury—Dominic Wilcox, Alex Goh (Design Taxi), Daniel Quinn (Happen.com) and two senior HEINEKEN innovation experts—will select the top three winners, who will receive $5,000, $3,000 and $2,000.

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Flotspotting: Martina Fugazzotto's Brooklyn Backyard Farm

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Facebook founder Mark Zuckerberg famously embarked on a mission to only eat meat that he'd killed himself—an achievable goal when you're a dot-com millionaire and have the resources to set up the logistics. Brooklyn-based designer Martina Fugazzotto, however, is a woman of more humble means who set a slightly different quest for herself: She would grow her own food. First on a balcony, then in a concrete backyard in Brooklyn.

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Though she's a designer, Coroflotter Fugazzoto is one of our brethren in Graphics/Web/Digital rather than Industrial; that being the case, she doesn't have that closet some of us ID'ers have to keep physical objects we've worked on. And though she enjoys her 2D design work, "At the end of the day, there's nothing that physically exists that I've made," she explains.

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Feeling that void led her to start a garden, where she could exchange physical toil for the reward of bringing something three-dimensional into existence. "I needed something more tangible, something that was so much more real in the world," she says. Working out of a tiny concrete plot behind her Brooklyn building, Fugazzotto soon branched out (pun! Sweet!) from houseplants into vegetables.

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Things That Look Like Other Things: Clip Bag by Peter Bristol

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Well, the name kind of gives it away, but for some reason it's still surprisingly delightful... probably because the small purse is a dead ringer for the office supply it's based on.

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Designer Peter Bristol—whose work we've seenbefore—notes that the Clip Bag is a case where "new scale creates new purpose."

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A History of Braun Design, Part 3: Audio Products

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A Sponsored Post on the History of Braun Design

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In the early 1920s, company founder Max Braun had made his entrepreneurial start by manufacturing radio componentry. By 1929 the canny Braun was producing complete radio sets of his own design. In 1934, the "A" in the center of the Braun logo (above) was shaped to resemble their art-deco-styled Cosmophon 333 radio (below).

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As was and is the Braun hallmark, technical sophistication married with innovative design would mark the category. As early as 1932, Max Braun had created a combination radio-phonograph, this at a time when radios with a built-in speaker was still a fairly new idea.

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But it wasn't until the mid-1950s that the company, under the stewardship of Max's sons Erwin and Artur, began forming a proper design department combining the foci of several talented individuals. Through their collaboration, drive, and relentless experimentation, the company began producing audio goods that moved firmly into what we would later think of as MoMA territory. And they would take some wild chances along the way.

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1955
SK 1
Artur Braun, Fritz Eichler

This design storm began around 1955, with Artur Braun and Fritz Eichler's SK 1 tabletop radio. The relatively tiny device could be placed on a windowsill and was a sharp departure from the gaudy visual clutter of other radios of the era. There was a dial and two unlabeled control knobs set into one side of a rational grid of dots for the speaker, and the barest hint of fins on the bottom for the device to stand on. (The grid of dots, by the way, would appear time and again in a variety of Braun products of all categories.)

Braun-G11-viaDasProgramm.jpgImage courtesy of Das Programm, specialist sellers of Braun Design, 1955–1995

1955
G 11
Hans Gugelot

While the SK 1 was radical, the company had still not yet given up on the idea of using wooden-bodied radios, as was the fashion of previous decades. But Hans Gugelot's sleek G 11 design deviated wildly from the baroque "music furniture" that consumers were familiar with. It also contained a design innovation that would come to influence the product category: The side edges were completely flat and the same dimensions top and bottom. If a consumer purchased the corresponding G 12 turntable, they could stack it atop the G 11.

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Design Packages for Nestlé's Ice Cream Division in Beauvais, France

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Work for Nestlé PTC Beauvais!



wants a Package Designer
in Beauvais, France

Nestlé is the world's leading nutrition, health and wellness company. Their mission of "Good Food, Good Life" is at the core of everything they produce for their customers. If you're interested in shaping the direction of PTC Beauvais, home to Nestlé's R&D activities for their Ice Cream business, click the link below for more details.

This is an outstanding opportunity for you to do something wonderful for your career with an established, trusted company that provides ample benefits, and work in a supportive environment that rewards performance. Did I mention you'll be designing for their ice cream division?

Apply Now

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