So. This is quite the venture. A group of individuals set out to create an app that achieves a visceral quality in photos… something that Instagram can’t always achieve perfectly (not to say this is a perfect solution either). Rather than recreating a retro effect with software, InstaCRT actually uses the aging titular tech to achieve its goals.

The concept is simple. You take a photo on your iPhone using the InstaCRT app. You upload that photo to a developer. This developer displays your image on a 1 inch CRT in a defined space (office or otherwise). A picture of the photo is then taken with a DSLR, and sent back to your iPhone.

The results are really nice. The scanlines are genuine, the distortion doesn’t follow any equation, and the look and feel are pretty spot on. It results in a standard that many other apps are striving for.

However, it has to be equally as inefficient. The more people begin to use the app, the more time is needed to deliver a result. So what if this app soars? Would it take days, maybe weeks to get an image sent back to you? Is there a better way to streamline this process? There are plenty of possibilities, as well as many conflicts begging to be solved. But nevertheless, the idea is nice, and the effort is present. The results could potentially be fantastic.

You can currently buy InstaCRT in the app store for $1.99.

The mouse and keyboard have been essential parts of the computing experience for years now. Touch technology has further progressed our interaction with computer experiences. Now, Leap wants to bring us beyond both. This product represents an entirely new way to interact with computers. Leap Motion claims to be more accurate than a mouse, more reliable than a keyboard, and more sensitive than a touchscreen.

We now can officially control a computer in three dimensions with natural hand movements.

In fact, the technology behind this product can distinguish your individual fingers and track your movements down to 1/100th of a millimeter – an incredibly precise scale. Do we even need an instruction manual to use our hands?

Pre-order LEAP Motion here: http://live.leapmotion.com/pre-order-the-leap/

Electronic (and EDM) music fans might be familiar with the Nordik Impakt festival, and if they are, then they’re most likely familiar with latest promotional and packaging materials related to the event. Murmure agency had the pleasure of developing the most recent conceptual products for the invitations. They’re obviously based around electronic music and, more interestingly, phosphorescence.

Murmure created posters and invitation cards which extend beyond the typical graphic approach, and reveal an electronic spirit when the lights go out. The innovative design makes for electro-phosphorescent glasses that are light weight and applicable to just about any environment as they’re made out of paper. The aesthetic itself is very futuristic and “technologic” – a familiar vibe for us EDM fans. Murmure has done a pleasant job of accentuating a taste of culture surrounding this genre of music, in a simple, precise manner.

I’m unfamiliar with the name(s) behind Zeitguised, but I can tell you it wouldn’t matter because I’ve fallen hard in love with their work. Zeitguised boasts the intricate biography, “The strange, obscure twin of contemporary zeitgeist imagineering.”

From what I gather, they’re a motion and 3D creative studio that dabbles heavily in obscure, abstract, and visually stimulating work that proves effective both in motion and in print.

This piece in particular is a more recent example of the experimental nature of Zeitguised. “Sample Sample” is the portrayal of nanoscopic materials inspired by images of fabric materials. In essence, this is creating the simulation of photographed space which seduces the viewer to imagine an existing material reality.

The piece is created with two different levels of translation of textile pattern. The first is color – where a scan of the textile is taken to directly color individual parts of the structure. The second is fabric weavings – 3D dimensional stacks of interlocked platonic bodies. The key then is to offset these layers in relation with each other which results in the visual effect we see here.

It’s no wonder the work was shown at Kiss The Design Gallery in Lausanne, Switzerland. It’s smartly constructed, and visually gorgeous.

By all means, explore their portfolio…it’s pretty intriguing stuff.

(If I happen to misread or misunderstand the making of this piece, I apologize in advance!)

There are plenty of impressive industrial designers and product visionaries out there. René Lee happens to be one who’s portfolio is filled with tech specific wonder. One of the most intriguing pieces, however, is the Bean. It’s actually a simple device: a mouse. It’s attention to ergonomics and universal behavior are what sets it apart.

Bean is essentially a mouse device containing only one touch sensitive bottom that clicks both edges. Its shape is symmetrical, making for easy use no matter what your primary hand is. The hot areas for clicking, scrolling, etc are all familiar and structured off the common layout. At the very least, it looks pretty beautiful…

Eric Cahan might be considered a good designer, but he’s definitely considered a phenomenal photographer. He’s a devotee of contemporary art, and is always inspired by color and nature. This is evident yet again in the ongoing Sky Series. These pieces are captured scenes of sunrises or sunsets.

Cahan uses as many as four separate cameras in capturing the amazement housed in these colorful compositions of nature. Employing dozens of graduated filters, his objective is to create a window into a time and a place, and to play with the abstract through color gradients, shifting, and manipulation. Cahan produces chromium prints of each piece numerous times until he has reached a seamless result free of any sort of blemish. Cahan’s drive to mesh the elemental beauty of color with the hidden complexity of nature is admirable. And the results: astounding.

Happycentro is a studio begun in Verona, Italy in 1998. Their work always has something to say, relying heavily on experimentation and research. Their ability to strike beauty in odd materials and forms make Happycentro an entity to draw inspiration from time and again.

Sabadì is a brand that focuses on a typical sicilian method of making chocolate. The materials used come from Slow Food presidia with respect for small indigenous communities, the environment, and biodiversity.

The results are filled with personality and character. Included are six characters, six packages, and a crowner. What’s most attractive is the attention to detail relating to the relationship between the bars and their package. One often addresses the aesthetic of the package, making it achieve a goal of its own, and then addresses the goods within as a project in itself, making sure they too look quite nice. But the visual meshing of product and product packaging is where this piece is golden. The characters breathe, and their packaging comes alive. A fantastic job indeed.

I’m currently working on a project that is to be launched in 2012 and it’s quite meaningful to my career. It’s indeed a website, but there’s so much to it…so much representation that needs to be effectively portrayed. It’s not going to be an easy task, but it should be one of the more fun projects of the year. So where do I start? I’ve come up with concepts, I’ve come up with wireframes, I’m just about ready to begin designing.

Is it odd that I start with designing the Twitter page first? I’ve never done this before. However, I did in fact start with the Twitter page for this project. I’ve spent more time on the concept for this page than I have on full websites in the past. It’s important to represent the ability to communicate with others in the most appealing way. 2012 is sure to be yet another year of social media growth. And though Facebook is already massive, I feel Facebook is for friends you never should have been friends with, and Twitter is for friends you should have been friends with all along. I honestly feel Twitter is potentially more powerful than Facebook.

For an agency, an identity, a service, Twitter could potentially be among the top methods used to draw attraction, work, and money. It only makes sense to then pay extra attention to the detail put into a Twitter page. In 2012, I am going to spend more time on the pages that are quickly becoming over saturated; on the designs and iconography that has become universal; on the methods in which we communicate both digitally and physically. And I’m starting by attempting to make a killer Twitter presence on my first big project of the year.

Here are a few shots of design that have inspired me in the process…the first shot is an element I’ve completed that is to be the foundation for the rest of the Twitter space in my current project. They’re some of the many faces of the Twitter bird.

I’ve come across a recent interface, designed by Dominik Wasienko, that has got me really excited. Not necessarily because I think the design is good, bad, effective, progressive, or otherwise. Rather, I’ve found it fascinating that this design has made me cringe, and also made me jump in joy.

Fenix Music, which seems to be an interactive design interface across various platforms, presents itself as an uber vibrant piece of work. It’s primary elements, such as its navigation, are not hard to understand, but are masked by complexity that is born straight from the visual aesthetic surrounding them. The colors are bright and contrasting. Various elements are jagged in shape, and others perfectly round. The particular detail in areas such as (what seems to be) a calendar are structured in a familiar sense, yet embedded in visual choices that aren’t often associated with a calendar.

Around each corner of this design, I find myself not immediately understanding exactly what is going on. But it doesn’t take long to not only understand it, but completely get it – get what’s going on and how it pertains to the overall whole of the project. This forces me to consistently explore the project, raising the level of intrigue just enough that I keep wanting more without becoming frustrated. I suppose it’s the clash of wanting immediate and complete understanding of purpose, versus the reality that I have to take the time to figure things out before truly realizing its intention, that makes this piece so interesting to me. It’s reminded me that it’s worth taking a moment to really pay attention – pay attention to the power of design.

Zim & Zou is a French graphic design studio based in Nancy (France). Composed of Lucie Thomas and Thibault Zimmermann who studied graphic design, they’re now working together to offer their services. The studio proposes a contemporary approach of design thanks to a mix of different fields such as paper sculpture, installation, graphic design, illustration, web design, etc. This typography series is a prime example of the mixture of mediums often found in Zim and Zou’s work. These letterforms are beautifully crafted using woven lines composed in geometric patterns.