14 JAN 2015//illustration The massacre on Charlie Hebdo is still all too present to talk about something as easy as to make somebody angry. Oh dear. But that’s a part of the theme of the documentary Cartoonists: Satire cartoons has to piss somebody off.
14 DEC 2014//transparency/social media How do I Like a post telling about a brute incident? That’s a question I ask myself now and then: do I ‘like’ the person who is posting, the action to bring the story to the public – or the brutality the story describes?
I may be confused over the community consensus, simply because of the dilemma. Wouldn’t a dislike button be nice, such as Zuckerberg says that facebook is considering to implement?
23 SEP 2014//illustration The Danish Psychology Professor Svend Brinkmann wants the saying-no-hat back, he says in the book Stå fast – et opgør med tidens udviklingstvang (Stand firm – a showdown with the development coercion). He recommends to focus a more on the negative in your life, find the saying-no-hat and suppress the emotions. We need input from elsewhere than from within. Illustration: Torben Wilhelmsen
7 JUN 2014//design/cd-cover ‘Grib mig’ is the title in danish, for the time being, of a coming cd, for which Marianne Mortensen and Michael Vesterskov had gathered four musicians for two days live recordings. I had the pleasure of being among the audience – and to design the provisional cover that together with a sign up form should make the audience pre-order the cd.
I try to ignore it. I’m turning into numbers. One by one. Meanwhile words become opinion, twisted to new, separated to pieces, in sudden beauty or occasionally despair. Temporarily. Numbers on the other hand are rocks. That get shaken when dressed up in words, in interpretation. Yet two is still two. Words loose the origin. I used to think that an answer always could be elaborated, even answers to the most simple questions. The more I got answered, the more I found needed to be explained.
Now I find the questions complicated, veiled, with secret areas, and stuffed with mental mouse traps, to which I must relate binary, true or false, yes or no. Or rank from 1 to 5, 1 to 10.
5 DEC 2013//web/typography But far the most of them still don’t! Only 22 out of 122 web sites for the danish authorities. And the majority of those are prefering free fonts. On the other hand is the number more than doubled in a year, since November 2012 when the number was 9 out of 115. The study is a snapshot that I took November 6, 2013 and covers the web sites of danish ministries, regions, and municipalities. The previous snapshot was taken November 30, 2012.
16 MAR 2013//tracking Samsung has launched a smartphone which allows users to control its 5in (12.5cm) screen using only their eyes. If you for instance is watching a video, it'll stop if you look away, and start when you continue watching.
It seems like a nice trick, Minority Report'ish, but then again: I think it’ll be a feature that I will turn off immediately.
30 NOV 2012//do your best/mobile web/don’t make me feel stupid In 2011 the use of QR code seemed to explode. It was a magic spell, a funnel to more visitors to the web site – Accio Visitors. Or was it just that cool that the lemmings started to move again.
21 DEC 2011//web/do your best/transparency If I buy something on, say, sales.com the response mail should come from sales.com and all links within the mail should be to sales.com. Anything else looks as a phishing attempt, and it might as well be.
10 OKT 2011//design/web/automated layout/ipad/mobile web/mobilism/responsive layout/web apps The net is flooded with apps – for smartphones and tablets. But web sites are still better viewed on a computer, right? So the marketing department is happy and web design is business as usual. Maybe because apps and web sites are considered as two different things, rather than two versions of the same. You may create coherence in web strategy by looking at app and website as the same project – in different versions, admittedly – with adapted features and design. And the task of doing this becomes easier if you design for the small mobile phones first.
I wrote the following is seven notes at the Mobilism konfererencen in Amsterdam in May. Notes that appropriately is made public now that ticket sales for Mobilism 2012 is close to starting.
8 OKT 2011//random/atypi/automated layout/magazine/mobile web/responsive layout Saturday morning at the ATypI conference in Reykjavík Torben Wilhelmsen was on stage to talk about integrating type and design through templates into automated page layout for multi platform publishing such as magazines and blogs on computer, ipad and other mobiles.
8 OKT 2011//navigation/public space/danish railways/apps I know it sounds a bit paradoxical. Usually I call to recognize randomness as a condition of life. But when it comes to traffic and road out in the public domain, I freak info. The more data available, the better, it's just like that. And when it comes to public transport ... How long time before the next train, do I sprint, wander, or do I have just the time to slip into at the bookstore. Is the train I'm in late, okay then, but do I have time to knit another row, or to think a new thought.
I do not ask for the train (necessarily) on time, but on reliable intelligence so I can dispose of my available time. It may seem like a small thing, but that’s how details work of daily life.
25 JUL 2011//public space/danish railways/advertising/apps Unfinished, ill-considered apps or apps that serve the market better than the use off it. If Apple has a sometimes paranoid restrictive approach to the formalities regarding an app you want to get into the App Store, they may have a comparable little interest in that the app works well. Fortunately, one could say, that should be the developer's task. But not everyone can not live up to this task, which also counts for DSB and the DSB Ticket app.
12 MAJ 2011//ipad/typography Take a few hours with iFontMaker on the iPad and tap, tap, draw, drag, pinch through the alphabet. And you may end up with a truetype font that you can write with on any computer, whenever the font is installed.
20 JAN 2011//public space/berlin/typography After visiting Buchstabenmuseum in the fall 2010, I started to register this applied typography in big scale in Copenhagen. Big letters, neon, and stuff. As far as I remembered, this was different from how it was back in Copenhagen. Consequently I started to look around here, and of course there were many more than I expected. That's how it works when you start looking and pay attention to these subversive elements.
On the other hand, there were not many, that I really wanted to collect.
Here's a few, just as examples, which I would like to – not necessarily take home and install in my living room – but at least remember, and not the least enjoy when I pass them on my way through the city.
14 DEC 2010//web/ipad/mobile web/mobilism/advertising/web apps I must admit, it’s (still) cool to have my icon right there on the iPad screen. As an app, yes, but a website can also do the trick. And website based app may sometimes even be a better solution than a native app.
Buchstabenmuseum Berlin. Why are these letters so attractive? I don't get an answer at Buchstabenmuseum, but I most certainly get a wish to look after all these servants of the announcements, sofisticated as well as monumental. In may 2010, during the TypoBerlin conference, we put our noses against the window of Buchstabenmuseum at their location in Leipzigstraße near U-bahn Spittelmarkt. Inside there was a wonderland of 3D letters. Unfortunately open only 2 hours, one day a week.
Since then the museum has moved their showroom to a shoppingcenter at Alexanderplatz with apparently and obvious success. Apparently, because the immediate attraction to all these letters is followed by a lot of publicity on the internet – as well as pictures, which you can make sure of on Flickr for instance.
27 MAR 2010//public space/danish railways/advertising Claim the real mayonnaise. Use Tungsram lightbulbs. Political incorrect ads are being revealed at Vesterport st. Vesterport st (copenhagen – and I know it may not be a station, see “Jyllingevej is no station”) is being cleaned up. And these old ads are reveiled.
Unpack, assemble and light. It’s so simple that I think I might have been able to it without the instruction. If it hadn't been for all the warnings. Every second package in the presents game was from the Tiger shop.
Things! It’s funny, and cheap. But most of it, I’m afraid, I would never have bought to myself. On the other side of the world people have been busy, the things are produced, carried to here. And after a brief toying, the thing is forgotten. Honestly. I know that they don’t know on the other side how we treat the things (can they guess?), but it really isn’t a meaningful work.
The logo is not an element, a graphical form, but the character in the way it is exposed in various contexts. Thus, the logo is not a categorism any more, but a organism, a being. I was pleased at ‘Total Typographic Saturday’ in the end of october, as Tore Rosbo and Clea Simonsen from the design bureau 1508 presented the identity for Århus University.
I had seen it before, the new identity, in real life, and thought: Hey, ther’s something there ... Bauhaus typography, a typographic grachic solution. It worked, but there was something else as well.
And that something revealed itself, there in the middle of saturday afternoon: A logo generator, yes!
Oh yeah, noo, it’s a road, right ... Jyllinge[road]? Well, but everybody familiar with the S-trains in Copenhagen, especially between Ballerup and Vanløse, knows that Jyllingevej is the last station before Vanløse. And now it is no station. Well then, Jyllingevej is the last station (if I may insist) before Vanløse, and thus of some interest.
Since this very morning a pour fellow has thrown himself out in front of a train. So:
“Herlev. Due to a collision on Vanløse has all train been stopped between Herlev and Vanlose. This train doesn't go any further. There will be busses instead.”
20 NOV 2009//public space I went to see Michael Moore's film Capitalism. I did not expect me to laugh all the way through, but neither did I expect it that depressing. Even though Mr Moore manipulates and search down the beings that fits his message exactly, they do exists the people who are chushes through the greed of the financial market.
And it strikes me: Usually it is in such as war that we count on casualities. Is this then what we experience, a (financial) war?
So let us cease fire – take the money out of the equation – while we still have anything else left.
16 NOV 2009//public space I don't think that it’ll cause any problem. I mean: Who really wants a burp. Compared to Deutsche Telekom’s attempt to trademark the color magenta? No, I don't think so. It’ll pass nice and easy. So what's the purpose, what is my intention, with the burp.
But first of all I’ll show magnanimity. That’ll shine on the ethical account. For instance, I will not prosecute private burpheads. So we won't need any www.pirateburp.com website.
Also, I promise, as I one day get loaded, I give something back to the people, to the community. It might me a grand cultural burp in the center of the capital ...
The concert was as a birthday present to Michael Vesterskov from the band who played at the theatre piece Det Blå Hotel [The Blue Hotel]. And gifts are, just like services, not something you pay back. You hand them along. So Michael gave us the music, as the host offers gifts for the guest.
Thank you. The band is:
Michael Vesterskov: Leadvokal, guitar,
Simon Toldam (Young Jazz Name of the Year, 2007): klaver, orgel.
Jacob Falgren: Bass,
Anders Banke: Klarinet, bass clarinet, barytonsax,
Qarin Wikström: Kor, omnicord, percussion,
Knut Finsrud: Drums,
Samuel Hällkvist (The Jazz Name of the Year, Sweden 2009): Guitars, banjo.
15 JUN 2009//design/magazine/spis bare The danish magazine Spis Bare is a very inspirering food-professional og well-informed magazine med professional depth and delicious presentation. Friday June 12 the magazine Spis Bare was awarded Anders Bordings Mediepris 2009.
I have in collaboration with the editor, Mette Jensen, developed the magazine during the last two years. So far it is published in six issues.
Spis Bare is published by the Danish Diet & Nutrition Association.
We had the napkin with the notes from the galla dinner at ATypI in Leipzig 2000, Henrik Birkvig and I on the flight back to Copenhagen, and we knew that we, together with Kim Pedersen, were about to organize ATypI in Copenhagen the year after.
And already then we sketched the cliches for identity of the conference: Red-white, old-new – the font by Engelhardt that is used for street signs in Gentofte and an animated logo.
The title of the conference: ‘Looking at the future in the rear-view mirror’ came later, but it was almost in the cards from the flight back home.
Everything that can’t be automated is design.
At the ATypI conference in Copenhagen 2001 Erik van Blokland, Letterror, made the statement that design is not to make one or more possible solutions of a certain task. Design is rather choosing the right one among all these possibilities. And since the making of the examples can be automated, why not do so – that is, make a tool – an application that can handle the job.
The postman is somewhat special. He brings all sorts of things. Postcards from Jamaica. Bills, too, unfortunately, but it’s not his fault, after all. home.pages – preface – june 1997
The postman is somewhat special. He brings all sorts of things. Postcards from Jamaica. Bills, too, unfortunately, but it’s not his fault, after all. He also brings software as mailorder. You can pay with creditcard, even cash and get change. Or, if you’re not at home, he leaves a note, so you can get the stuff at the postoffice. And then he’s able to tell – you don’t even need to push his buttons – how much postage for a letter for Bhutan. It’s all very interactive.
1 SEP 2001//design/web/book To the puritan any design that make any demands, will be noise. But you may as well take the opposite stand, that the purely textbased information is reserved for the skillede readers. Torben Wilhelmsen, Thomas Green and Geert Sander
Published first time in 1997. The book was one the selected Books of the Year in 1998 in Denmark.
2. edition was published in 2001.
13 APR 2001//typography/animation The spoken information on the other hand is dynamic with an absolute demand of presence. If you're not there, you'll miss it, because the spoken word disappears instantly. The meaning of the spoken information may be stored in your memory, but the words are gone.
Usability and accessibilty on the web becomes synonymous with free choice and professionalizing of the user. Thus, she is more and less self responsible for being able to recieve the information of the websites. The computer is putting still greater demands to the user, but despite of that it is easier to use today than ever. There is a constant flow of new applications and new version with numerous possibilities, and you’ll easily feel like a freak, for instance if you use Word as a mere texttool. Usability is a must, but behind the nice interface the computer and the application is totally incomprehensible.
Advarsel: Denne bog tager udgangspunkt i Photoshop, men tager også enkelte trin til andre programmer. Men den er skrevet i forrige årtusind, så program referencer forekommer noget forældede. Photoshop har i adskillige år været programmet til web-grafik. I modsætning til den skov af programmer der findes til opbygning af web-sider (html-editorer), har der reelt kun været Photoshop til grafikken, til billederne. Også selvom der havde været andre programmer, ville Photoshop formentlig have været et nærliggende valg da vi gik i gang med web-grafik, fordi vi kendte det forvejen og brugte det til alle mulige og umulige former for billedbehandling.
First the good news: The photography has lost its trustworthyness, because the digital technology has made it obvious to anybody that every photopgraphy can be manipulated. And then the bad news: We are being told that actually the possibility of computer manipulation it self killed the reliability. And thus tend to maintain the illusion of the reliable photography.
Well, yes and here you are: one thousandth, even as much as one sixtieth second with the truth, nothing past, nothing since. Even though the exposal time were longer in the beginning, the truth is short. But reliable?
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