Sunday, December 29, 2002
Thursday, December 19, 2002
My mom was a flight attendant in the 60s for American Airlines, complete with glamorous black and white photos of her in her uniform at various exotic locales. My experience flying was from a young age onward, and I developed a bit of fetish for airplanes and flight in general. One of my particular interestests is the style of the various airline safety cards that I found, I love the combination of style, campiness, universality, and impeding danger that these cards implied. Here is a new book (with website) on the subject that I have found interesting Design for Impact
AUTHORS: Eric Ericson en Johan Pihl
SUMMARY: 'Design for Impact' looks at the development and
design of airline safety cards, from the first cards
in the 1930s through to the present day. At the
beginning of civil transport aviation, there were
no safety cards on planes: the number of passengers
was very small and safety research was not very
developed. As planes became bigger, crash analysis
reports showed that it was necessary to explain to
passengers what to do in case of emergency. During
the 1960s, more complete safety measures were
explained in separate safety booklets, then during
the 1970s, cards became increasingly precise and
efficient, and smaller airlines began to adopt them.
Nowadays, every airline provides safety cards and
their design is constantly evolving as new attempts
are made to express safety information in an ever
more comprehensible way
CONTENTS:
Preface
- Pre-war safety cards
- Post-war safety cards
- The jet age begins
- The Comet
- The Boeing 707
- The Douglas DC-8
- The Convair 880
- Next-generation jets
- The Concorde
- Ex-communist safety cards
Paperback, 176 pp
Price: USD 29.99 / GBP 25.00
Published: October 2002
Publisher: New Riders Publishing
ISBN: 1 85669 292 2
Monday, December 16, 2002
Thursday, December 12, 2002
"I am happy I didn't go to film school. The only way to learn is to watch film," Murro says. "I thought I could direct out of a mixture of dictatorial hubris and an addictive energy. Why are some directors successful and others not?" he asks rhetorically. "Anyone could learn the technique. But you have 18 hours on set, and a week and a half again in prep. You have to have a point of view, a clear vision."
