His stuff is traditional with a very modern twist: think 19th century meets TRON. Yeah, pretty awesome. My favorite piece is an antique chair found in a flea market somewhere in Paris, “left unrestored and then adorned in turquoise neon, giving it new life but without forgetting its journey.”

Some of the other designs that I liked (click thumbnails to expand):

For the discerning cyberpunk, Broom’s full range of products are listed here.

Beer: tool of the trade

But NDAs are way too formal for the modern entrepreneur, who is more likely to meet a potential partner or investor at a conference, in a coffee shop, or over a beer than arrange to meet at the lawyers.

In an informal situation, the most common business exchange is probably handing someone your business card. I’ve been thinking about this, so in the spirit of sharing ideas, here’s what I’ve come up with:

What if your business card could unlock new conversations?

On the understanding that a signed non-disclosure agreement allows for a far smoother flow of communication in the exchange of business ideas, my business card design offers the ability to turn a casual conversation into a pitch scenario, but without the formality.

Take a look at this mockup I created for MOO Cards, who sadly weren’t interested in the exclusive ownership rights!

Click the image to see in fullscreen

My design is a perforated piece of card designed to be ripped in half:

• One half lists the usual business card details
• One half has space for a signature against the statement:
  “I hereby agree to treat your idea as confidential in a bond of trust”
  (or whatever)

Each party keeps one half of the card in this interactive business exchange. Not legally airtight, of course, but still an innovative means of quickly forming trust with a potential partner.

So then, anyone out there want to help turn this design into a reality?

I’ll be talking on the subject of technology and evolution, probably around how the liberal arts act as playground to new & culturally transformative ideas. If you’re interested in coming along, tickets are available right here.

In the meantime though, here’s the first of some less heavyweight posts I’ll be making over the coming weeks!

I love how this invention takes an analog medium (plastic / liquid) and mimics a digital one (LCD display) in the guise of another analog medium (the typewriter) to output not words, but what looks like a terribly strong concoction of different drinks. Each customer would create a different, personalised recipe based on their input.

I can see this being really fun in a bar that sold tokenised access to the machine, along with predefined recipes such as the keywords ‘pineapple’ or ‘cherrybomb’, each letter plugged into its own mutually exclusive blend of base flavours. Nice work morskoiboy (site currently down).

As a graphic designer, Brodbeck is drawn to particular style details, but as a generative coder he’s interested in exploring the role for graphic design in analysing these same details.

He picked the medium of film as his ‘data-set’ and came up with something actually very unique: rather than analysing the meta-data around a film (i.e. from IMDB), he’s using movies themselves.

The project seeks to ‘fingerprint’ films (a bit like the recent moviebarcode site) and turn them into interactive models. The models can be manipulated to allow users to identify differences or trends in the graphics via a sexy looking interface, all of which he’s now open-sourced on GitHub.

Here’s a demo:

Brodbeck defines the project as “an experiment to find out if the data that is inherent in the movie can be used to make something visible that otherwise would remain unnoticed.” It’s a really interesting area for academic inquiry, one which he set out the following goals:

Measuring and visualizing movie data to reveal the characteristics of movies and to create some sort of unique “fingerprint” for them.

Extracting and analyzing information – such as the editing structure, use of colors, speech or motion – and transform them into graphic representations, so that movies can be seen as a whole and easily be interpreted or compared.

Working experimentally and presenting the work both in print and digital media.

A side effect is that the system he’s built is great at comparing films, so as to see differences between originals and remakes; within similar genres; among a string of sequels, similar filmmaking styles or certain directors.

What’s great is the system is actually useful. It’s an infographic engine for film-buffs, and we know how popular those are, don’t we?!

Frederick, I look forward to the sequel!