By day, Dan Lane works at a Co-op in Exeter. By night, he's a globally recognized logo designer known as the "Lord of the Logos," creating iconic designs for bands like The Black Dahlia Murder and Aborted. His portfolio spans over 400 logos, including album artwork and merchandise designs for clients worldwide, a passion he pursues in his free time while maintaining his unassuming day job. He's built this impressive career largely through word-of-mouth and online networking within the metal music scene.
This article from the Journal of the Printing Historical Society details the history of phototypesetting at Monotype, focusing on their transition from hot metal to photographic composition. It covers the initial reluctance to embrace the new technology, driven by a significant investment in hot metal, and the eventual development of filmsetters like the Monophoto, Lasercomp, and Linotron 202. The piece highlights the technical challenges overcome, the evolution of font design and storage for photographic systems, and the ultimate impact of these innovations on the printing industry, marking a significant shift away from traditional methods.
Hacker News users discuss the linked PDF, which details the history of Monotype's involvement with phototypesetting. Several commenters express fascination with the technical details of early phototypesetting machines, particularly the challenges of achieving high-quality output and the ingenious mechanical solutions employed. Some lament the loss of the aesthetic qualities of hot metal type in the transition to phototypesetting, while others appreciate the increased speed and flexibility the newer technology offered. A few commenters share personal anecdotes about working with Monotype equipment, providing firsthand accounts of the era. The discussion also touches upon the broader historical context of the printing industry's shift from analog to digital processes.
Socmus.com is a virtual museum showcasing Bulgarian graphic design from the socialist era (1944-1989). The website features a diverse collection of digitized posters, packaging, logos, and other design artifacts, offering a glimpse into the visual culture of this period. It explores various themes, including political propaganda, cultural events, consumer goods, and everyday life, highlighting the unique aesthetic and ideological influences on Bulgarian design during this time. The museum aims to preserve and share this rich heritage, offering a searchable database and detailed information about the designers and historical context of the works.
HN users generally expressed appreciation for the virtual museum of Bulgarian socialist-era graphic design, finding the aesthetic interesting and historically valuable. Some highlighted the bold colors, geometric shapes, and optimistic themes prevalent in the designs, contrasting them with Western advertising of the same period. Others pointed out the propaganda aspects inherent in the work, while still acknowledging the artistic merit. Several commenters shared personal connections to the era and region, offering additional context and reminiscences. A few users also expressed interest in similar archives for other Eastern European countries during the socialist period. There was a brief discussion about the technical aspects of the website itself, with one user suggesting improvements to the search functionality.
VietGD.com showcases Vietnamese graphic design, aiming to document and promote the country's evolving visual identity. The site features a curated collection of work spanning various disciplines, including branding, typography, illustration, and packaging design, from both established and emerging Vietnamese creatives. It highlights the unique blend of traditional Vietnamese aesthetics and modern design influences present in the showcased work, offering a comprehensive overview of the current graphic design landscape in Vietnam.
Hacker News users discuss the unique aesthetic of Vietnamese graphic design showcased on vietgd.com, noting its vibrant colors, bold typography, and occasional "maximalist" approach that contrasts with Western minimalist design trends. Some commenters draw parallels to Chinese and Korean graphic design, highlighting shared cultural influences and a preference for ornamentation. Others appreciate the website's organization and the historical context provided. A few express interest in learning more about Vietnamese design principles and the cultural context that shapes these aesthetics. Some users critique the site's English translation and suggest improvements. Overall, the comments reflect a positive reception of the website and a genuine curiosity about Vietnamese graphic design.
Helvetica is ubiquitous in New York City's signage, especially in the subway system. Originally designed as a neutral, legible typeface, it became the standard for wayfinding and official communications, conveying authority and efficiency. The post explores this pervasiveness, showcasing numerous examples of Helvetica's use across various applications from street signs to building names. Its widespread adoption, though intended to create a unified and clear urban environment, has arguably led to a homogenized visual landscape. The essay ultimately suggests that while functional, Helvetica's dominance potentially diminishes the city's unique visual character.
HN commenters largely appreciate the deep dive into Helvetica's use in NYC signage, particularly its historical context and evolution. Some debate the merits of Helvetica versus other sans-serif fonts, with a few suggesting alternatives like Franklin Gothic or Akzidenz-Grotesk would be better choices. Others highlight the importance of considering the overall design, not just the font, pointing out that even Helvetica can be used poorly. A couple of commenters offer additional examples of Helvetica's pervasiveness, referencing its use in government and transportation systems. One compelling observation notes the shift away from Helvetica in newer signage, suggesting a changing aesthetic landscape in the city.
Data visualization is more than just charts and graphs; it's a nuanced art form demanding careful consideration of audience, purpose, and narrative. Effective visualizations prioritize clarity and insight, requiring intentional design choices regarding color palettes, typography, and layout, similar to composing a painting or musical piece. Just as artistic masterpieces evoke emotion and understanding, well-crafted data visualizations should resonate with viewers, making complex information accessible and memorable. This artistic approach transcends mere technical proficiency, emphasizing the importance of aesthetic principles and storytelling in conveying data's true meaning and impact.
HN users largely agreed with the premise that data visualization is an art, emphasizing the importance of clear communication and storytelling. Several commenters highlighted the subjective nature of "good" visualizations, noting the impact of audience and purpose. Some pointed out the crucial role of understanding the underlying data to avoid misrepresentation, while others discussed specific tools and techniques. A few users expressed skepticism, suggesting the artistic aspect is secondary to the accuracy and clarity of the presented information, and that "art" might imply unnecessary embellishment. There was also a thread discussing Edward Tufte's influence on the field of data visualization.
"Mac(OS)talgia" is a visual exploration of Apple's interface design evolution from System 1 to OS X Yosemite. It showcases screenshots of key applications and system elements, highlighting changes in typography, iconography, and overall aesthetic over time. The project acts as a nostalgic retrospective for long-time Mac users, demonstrating how the interface has progressively shifted from simple black and white pixels to the refined, flat design prominent in modern macOS versions. The curated collection emphasizes Apple's consistent pursuit of user-friendly and visually appealing design, tracing the gradual development of their signature digital aesthetic.
Hacker News users generally expressed appreciation for the Mac(OS)talgia project, praising its attention to detail in recreating the look and feel of older Macintosh systems. Some commenters shared personal anecdotes about their experiences with early Macs, evoking a sense of nostalgia for simpler times in computing. A few users pointed out specific inaccuracies or omissions in the recreations, offering corrections or suggestions for improvement. There was also some discussion about the challenges of emulating older software and hardware, and the importance of preserving digital history. A recurring sentiment was that the project effectively captured the "soul" of these classic machines, beyond just their visual appearance.
Psychedelic graphics, inspired by the altered perceptions induced by psychedelic substances, aim to visually represent the subjective experience of these altered states. Characterized by vibrant, contrasting colors, intricate patterns like fractals and paisley, and often morphing or flowing forms, these visuals evoke feelings of otherworldliness, heightened sensory awareness, and interconnectedness. The style frequently draws upon Art Nouveau, Op Art, and surrealism, while also incorporating spiritual and mystical symbolism, reflecting the introspective and transformative nature of the psychedelic experience.
Hacker News users discuss Ben Pence's blog post about psychedelic graphics, focusing on the technical aspects of creating these visuals. Several commenters delve into the history and evolution of these techniques, mentioning early demoscene graphics and the influence of LSD aesthetics. Some discuss the mathematical underpinnings, referencing fractals, strange attractors, and the role of feedback loops in generating complex patterns. Others share personal experiences with psychedelic visuals, both drug-induced and otherwise, and how they relate to the graphics discussed. The connection between these visuals and underlying neurological processes is also explored, with some commenters proposing that the patterns reflect inherent structures in the brain. A few commenters express interest in modern tools and techniques for creating such effects, including shaders and GPU programming.
The Letterform Archive recently acquired a collection of over 700 Japanese chopstick sleeves, showcasing their role as miniature canvases for typography and cultural expression. These disposable yet designed objects reveal a wide range of typefaces, from traditional calligraphy to modern sans serifs, often paired with illustrative elements like landscapes, animals, or abstract patterns. The collection provides a glimpse into graphic design trends, regional aesthetics, and even historical periods, demonstrating how even ephemeral items can reflect broader cultural values and artistic sensibilities.
HN users generally enjoyed the article about chopstick sleeves, appreciating the deep dive into a seemingly mundane object. Several commenters pointed out the connection between the aesthetic appreciation of everyday items and Japanese culture, with one highlighting the similar artistry found in Japanese matchboxes. Another user noted the prevalence of beautiful, yet disposable, ephemera in Japan. A few commenters discussed the practicality of the sleeves, suggesting their primary function is hygienic, while the design is a secondary, albeit appreciated, aspect. Some questioned the environmental impact of single-use items like these, prompting a discussion about reusable chopstick options and cultural norms around dining. Finally, one commenter expressed a desire for more articles exploring the design and history of everyday objects.
Summary of Comments ( 60 )
https://news.ycombinator.com/item?id=43594396
Hacker News commenters were generally unimpressed with the "Lord of the Logos" article. Several found the title misleading, as the designer's work, while prolific, wasn't particularly noteworthy or high-profile. Some criticized the writing style as hyperbolic and clickbaity, arguing the story wasn't deserving of such grand pronouncements. Others pointed out the irony of a Co-op employee designing logos for competing supermarkets. A few questioned the legality and ethics of designing logos for other companies while employed, especially given the potential for intellectual property conflicts. There was also a brief discussion about the prevalence of generic-looking logos.
The Hacker News post about the Exeter Co-op worker who designs logos has a modest number of comments, mostly focusing on the juxtaposition of his ordinary day job and creative outlet. Several commenters express appreciation for his artistic talent and the unique designs he creates.
One commenter highlights the "Lord of the Logos" moniker, finding it amusing and fitting. They also draw a parallel to Clark Kent/Superman, emphasizing the hidden talent beneath an unassuming exterior. This comparison resonates with other commenters, who enjoy the romantic notion of a secret identity.
Another thread discusses the logos themselves, with some commenters praising their retro aesthetic and clever use of negative space. They point out the effectiveness of simple, yet memorable designs, and how they stand out in a world of overly complex logos.
A few comments touch on the nature of creative work and the importance of having an outlet for self-expression, regardless of one's profession. They commend the designer for pursuing his passion alongside his day job.
Some commenters express curiosity about the designer's process and how he balances his two roles. They wonder if he plans to transition to logo design full-time or continue his current arrangement.
Overall, the comments reflect a positive reception to the article and a general admiration for the designer's artistic abilities and dedication to his craft. There isn't much in the way of controversy or debate, with most commenters simply sharing their appreciation for the story and the designs.