My Friday Five | 2

Another week has passed ever so quickly, but it means its time for my Friday Five. I found each of these articles very interesting as I hope you do. Have a great weekend and keep inspired.

Transforming Walls

That title might make you think otherwise. No sadly they are not Bumble Bee and Optimus Primes long lost cousins. French street artist Patrick Commecy together with his team, creates huge murals of hyper-realistic facades that bring blank and boring city walls to life. Commecy even includes several notable people from the history of the town.

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Donald Trump - NY Times Cover

Creative Director Jessica Walsh along with creative directors at NY Times: Gail Bichler, Frank Augugliaro along with the design, illustration and photography talent of Angela Iannarelli, Aron Filkey, Giulia Zoavo, Vittorio Perotti have created a very apt and humerous depiction of Donald Trump and I guess a summary of his campaign for the NY Times.

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Optical Illusions 

More buildings I'm afraid. But once as you see these you wont be disappointed. Parisian street artist Astro converts flat architectural faces into illusory vortexes with a vibrant graphic twist. His patterns combine smooth, swirling curves and calligraphy with sharper shapes in dynamically detailed designs that are eye-catching on their own.

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Theo Payne

The Welsh Illustrators combines simple shapes, subtle texture and beautiful selective colours to form her quirky style. Theo's illustrations are full of imagination, her compositions are well informed and she even dables in some short animations.

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Shazam for Fonts

For her graduation project at the Royal College of Art Fiona O’Leary developed a handy, handheld tool she calls Spector that captures typefaces and colours in the real world, and then transfers them directly to InDesign. Though note that this is only a prototype. She says hopefully one day it will be developed and commercialised but she is in no rush.

O’Leary describes Spector as a “physical eyedropper.” We like to think of it as Shazam for colours and fonts. Here’s how it works: Place Spector over a piece of media and depress the button on top. A camera inside photographs the sample, and an algorithm translates the image into information about the shape of the typeface, or the colour’s CMYK/RGB values. Spector beams that information to a font or colour database, which IDs the sample. If your computer is nearby, a custom plugin ports the font or colour information to InDesign, where highlighted text or projects will automatically change to the typeface or colour of your real-world sample. Spector can store up to 20 font samples, so you can transfer them to your computer later.

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