Christopher Nolan is all that, but not a bag of chips.

If you would have asked me who my favorite director is before I saw Interstellar, I would have told you it was Christopher Nolan.  His Dark Knight trilogy, Inception... fantastic films.  He has a real knack for storytelling and writes scripts that aren't just meant to entertain, they force you to pay attention and to think.  I consider Inception my favorite all-time film because every aspect of production was so phenomenally executed, from the screenplay to the sound editing.  I'll argue vehemently with anyone who feels otherwise.

However, I feel that Nolan was trying a little too hard with Interstellar.  It's a great film, but I simply wasn't blown away as I usually am with most Nolan films.  I feel like it tried too hard to be scientifically accurate while still punching your feels in the jaw, but it didn't quite work.  You disappointed me a little bit, Chris.  You're not a perfect filmmaker, despite what you may think.

I love Jared Hess films for the exact opposite reasons.  Hess is the awkward artistic vigilante behind comedies like Napoleon Dynamite and Nacho Libre.  It's obvious that Hess doesn't take himself too seriously with the brand of films that he puts out.  They're hilarious, quotable, and involve awkward symmetrical shots and zoom lenses.  Not to mention he has an affinity for creating likable and dorky protagonists.  I think a lot of directors would do well to take a leaf from Jared Hess' book.  Yeah, it's great to have our artistic, norm-challenging films raking in Oscars every year... but come on.  Don't take yourself so seriously.

Compose Your Frame Assignment

f/3.5, 1/1250 s, ISO-100, 18mm

In this photo, the rule of thirds applies because our eyes are instantly drawn to the chairs, one of which is hovering near the bottom-right corner of our invisible tic-tac-toe grid.  The vertical lines in the top of the structure also end on the top part of the tic-tac-toe grid.  We have diagonal movement from those chairs and the narrow beams running across the ceiling of the structure.  This also creates depth--our eyes want to travel along the path where the beams and chairs point.  From this perspective, it might even be infinite.

Axioms of Web Design

http://www.johnnycupcakes.com

No, it's not a bakery--even though he tries to make it look like one.  Johnny Cupcakes makes apparel.
I love Johnny Cupcakes.  I love the t-shirt designs and the story behind the brand, and the website is fantastic.  It's lively, easy to navigate, and there is always something new.

First off, navigating the site is simple.  Everything you need is on the right side of the top bar.  You've got your SHOP, which is where you'll spend most of your time browsing, BLOG, which is updated almost daily, BAKERIES (locations), EVENTS, and ABOUT, which gives the story of Johnny and the brand he's concocted.  There's really not much else to the website--simple.

It also utilizes Rutledge's strong grid well.  What's placed in the grid? Shirts. Keychains. Stickers. Products you can buy.  And the products offer some great contrast against the solid white background, making them pop.  And are there aesthetically pleasing designs? Absolutely.  Just tell me these shirts don't look cool.

Admittedly, the design doesn't motion the eye down an angle of any sort.  It kind of allows your eye to roll down, from the massive banners to the products below.  It makes you pause to scan everything that's going on the screen, which is typically a lot.

Recently, the folks at JC also made sure the website works well on mobile.  Johnny actively updates Instagram and Snapchat with what's going on in the company, and it was through those social networking platforms that I discovered they had revamped the mobile website interface.  It now runs exceptionally smooth.

Good Design, Not-So-Good Design

Good Design

Here we've got two movie posters that represent some good design, and some not-so-good design.

For good design, we have the iconic poster for Raiders of the Lost Ark.  This film is a classic.  You can tell from Indiana Jones' kinetic power stance that this is going to be an adventure film.  It also takes place in the Middle East, which is illustrated by the design's sand-blown appearance.  The proximity of the supporting cast's portraits (each with dramatic lighting) frame Jones as the center of attention, and you've got subtle motifs near the edges that represent elements in the story, too, such as snakes and ancient temple designs.  They gather around the edge of the frame in a circular motion, creating continuity for the eye.

Not-so-good Design

In terms of not-so-good design, we've got the poster for The Last Crusade, the third Indiana Jones film.  The poster includes closure in terms of framing in a loose photo of Jones facing the audience.  There isn't much to stay in terms of continuity because the eye doesn't have very far to go--Jones is kind of boxed into a smaller frame within the poster.  The white border also clashes with the warm tones of the inner photo.  Overall, this design feels restrictive and stifled.

Contrast, Harmony, and Balance

This is a photograph I took this past weekend I've titled "Towers of Crash."
In terms of contrast, we've got a fairly wide range of shades that span from the dark shades of the window blinds to the light that's on in the corner of the room, which reflects off of some points of the walls.  The balance is asymmetrical due to the different heights of the cymbals.  The hi-hats sit a little lower in the frame while the crash rises nearly to the top-right corner.  The harmony of the photograph is illustrated by the musical instruments repeating as your eye travels deeper into the photo.  The snare and drumsticks lay the foundation at the bottom of the frame, followed by the asymmetrical cymbals, which are in focus, leading by two guitar necks and the rest of the room.

An Experience of the Visceral Variety

I'm not a connoisseur when it comes to paintings, but from what I do know about paintings, I love Jackson Pollock's work.  Among his works, I'd have to say "Blue Poles" is my favorite.
I think true beauty is found in imperfection, and "Blue Poles" is a chaotic mix of yellows, blues, and whites that comes together in what looks like a mess of imperfection.  There is a messy bombardment of curving, diving, and swirling lines except for the eight blue "poles" that protrude nearly vertically throughout the piece.  What is negative space?  What's positive space?  In this piece, it's tough to tell, and I like it.  As for texture, the globs of paint are laid on so thick that it almost creates its own milky, bubbly feel that's enforced by the fact that the canvas cannot be seen at all.
What's the feeling that his piece portrays?  With the vertical blue lines, it almost seems to communicate attempted order among disarray.  And isn't that what we're all striving for in life?