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Monthly Archives: July 2007
Industrial Strength Design: How Brooks Stevens Shaped Your World

Filed under Reading / Watching / Consuming

I thought I was pretty well acquainted with the major early 20th century industrial designers – like Norman Bel Geddes, Raymond Loewy, and Henry Dreyfuss – until I was talking about them one day with an artist on my (then) team. He’d come from Wisconsin, where he’d studied at Brooks Stevens’ school and later worked at his firm. Stevens himself wasn’t working any more, but he still turned up from time to time. So I did a bit of homework. Which at last led me to this book.Brooks Stevens, industrial designer

And sure enough, I already knew the man’s work even though I had known nothing about him. Stevens, like those other designers I mentioned, cut his designer’s teeth during the futuristic 1930’s – and like them, he was able to turn his hand to just about anything that was manufactured, from cars to trains to boats to kitchen appliances.

Like Dreyfuss, he was an eminently practical man when it came to product design. But Stevens also had an innate grasp of how people would be affected by the objects he designed. A perfect example of that is the fact that it was Stevens who put a window in a clothes dryer. What had been a featureless cabinet suddenly became animated, hypnotic; the dryers were styled very much like early televisions and in showrooms across the country people just stopped and… watched them. That one decision shows a pointed insight into the way we respond to objects.

Through his long association with Evinrude, Stevens defined for us what an outboard motor should look like. He often took ungainly machines with jagged, mechanical profiles and streamlined them in casings – just the way designers were encasing steam engines in rocket-shaped, teardrop shells. Likewise he worked for many years for Studebaker, and – not to neglect the the ridiculous – he reinvented Oscar Mayer’s Wienermobile.

Yet one of his best remembered legacies of the 1950’s is his invention of the phrase “planned obsolescence”. He saw this as “instilling in the buyer the desire to own something a little newer, a little better, a little sooner than is necessary.” That’s far from the most sinister application of the phrase – which is to design products so that they will intentionally wear out within a certain timeframe, so that the buyer has no choice but to buy again.

Even in its more aboveboard meaning there’s a kind of manipulation in the idea that doesn’t sit well with us. But in the past three decades industries have gone far beyond this, with the scheduled introduction of incompatible hardware, data formats, and operating systems, so that we are expected to buy the same content again and again to work on these new devices – especially where the older ones are no longer available. Steven’s phrase and intent seem somehow innocent, at this stage.

This handsome book gives us many examples of Stevens’ designs from every period from the 1930s to the late 1970s, and a good deal of insight into the ideas and client relationships that lay behind those designs.

One of the things that pleases me about these designers is the total world canvas they were able to paint. In the late 20th century industries became more and more specialized. But in the century’s early days it was more than ever possible to be a generalist – in any field, not just in design – and the overall style of the period makes their collective work somehow hang together, like the inevitable result of ongoing progress. It’s a fascinating period to study, and – maybe – to envy, just a little.

 
 
Tutorial: Making Displacement Mapped Terrain with World Machine and 3DS Max

Filed under Computer Graphics, Works in Progress

Displacement Mapped terrain from World Machine and 3DS Max

This is a test rendering of a natural landscape which I rendered in 3DS Max 8. The terrain’s from a height map I generated with the free version of World Machine. This height map became a Displacement map in 3DS Max.

I’ve written up a tutorial on how I created the height map (in World Machine) and turned it into a textured 3D landscape using 3DS Max. You can read the whole review/tutorial here.

 
 
My Sites – Saga Shirts

Filed under Print On Demand, Works in Progress

I must have started thinking about Saga Shirts in early 2005, though it might have been a bit earlier. There were two things that combined to make it happen.

First, I’d been very happy with my print-on-demand web sites like “Celtic Art & Retro-Futuristic Design” and “The Retrovert“. But one problem with print-on-demand (at least then) was that there was no way to get good quality printing on black or dark colored shirts. I was asked for black shirts more often than anything else, I think. There just wasn’t any way to offer them that I felt good about selling, through a print on demand service; you still really needed to go with traditional silk screen printing.

(more…)
 
 
Frank Buchwald’s “Machine Lights”

Filed under Found on the Web

Frank Buchwald’s gallery for his series of “Machine Lights” sculptures is either a collection of what I’d like to install at the Secret Laboratory, or maybe a collection of things I wish I’d designed myself.

Some of these look like something that crept out of Tesla’s brain, while others are more the sort of Buck Rogers chic that I hope is my own province.These are artfully made objects, certainly not toys – spend some time with those detail shots to see just what Buchwald’s up to here. There are hand-blown glass bulbs and tubes, and individually machined and finished parts in steel and brass.

I just love the demented craftsmanship in these. The lights are available in limited numbers, but as far as I can tell there’s no pricing information available unless you contact the artist. I’ve got a feeling they’ll be beyond my means unless this ATM-Dispersal Ray I’m tinkering with works out. But by all means – go look!

 
 
“Solar”, by Ian Wharton and Edward Shires

Filed under Computer Graphics, Found on the Web

Solar“, by Ian Wharton and Edward Shires, is a short animated film that shows us just how badly things may go wrong even in a universe that runs on sustainable, low technology mechanics. Well. That’s sort of what it shows us.

Fortunately even low tech cosmology has some built in safeguards.

The two artists behind the film recently graduated from the Cumbria Institute of the Arts, where their film took a best-of-show award. It’s got a lovely paynes’ grey and sepia palette for its steampunkish clockwork universe, and it’s easy to see why it won in competition.

 
 
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