1. As an industrial design consultancy, we work collaboratively with our clients’ marketing and R&D teams, helping them realize their vision. With Gigs 2 Go, we had a chance to execute a vision that was entirely our own. This gave us an opportunity to express with clarity a concept that is not market driven, but idea driven. And we were able to infuse our values into the product, like sustainability and collaboration. We never imagined it might end up in a museum design store, especially one as venerable as MoMA. But we always aspire to create products that can be admired for their beauty and cleverness in addition to their utility.

    —Kurt Rampton on his Kickstarter-funded Gigs 2 Go being in the MoMA Design Store. Gigs 2 Go is one of 24 products highlighted in a collaboration between the MoMA Design Store and Kickstarter.

  2. "The development of my project was really more happy accident than grand design. I was working on an occasional table, while reviewing a prototype for the metal legs I turned it upside down and thought, "hey, this kind of looks like a rabbit." My ambition for the project was simply for it to exist, for this little rabbit to be out in the world in people’s homes. I never dreamed it would end up in a museum design store. The fact that it’s in there rubbing shoulders with such iconic objects is totally surreal to me." Dave Barry on designing Frank, his Kickstarter project that found its way into the MoMA Design Store. 

    "The development of my project was really more happy accident than grand design. I was working on an occasional table, while reviewing a prototype for the metal legs I turned it upside down and thought, "hey, this kind of looks like a rabbit." My ambition for the project was simply for it to exist, for this little rabbit to be out in the world in people’s homes. I never dreamed it would end up in a museum design store. The fact that it’s in there rubbing shoulders with such iconic objects is totally surreal to me." Dave Barry on designing Frank, his Kickstarter project that found its way into the MoMA Design Store

  3. Not only did we not expect it to end up in a museum design store, we didn’t plan on a business, or even a proper product. We launched NeoLucida because we were inspired by David Hockney’s book, Secret Knowledge. He used an antique camera lucida to see how great masters of art might have seen the world. So to give our students this experience, we decided to make an inexpensive camera lucida so more people could experiment. But when we received nearly 3000% over our goal, and 11,406 people backed the project, we found ourselves designing for the marketplace instead of making a simple, small scale experiment. So being part of the Kickstarter @MoMA collection is a thrill, but far from where we thought we would be last year.

    —Pablo Garcia on making the NeoLucida, and how it ended up in the MoMA Design Store. 

  4. I was simply making the best product I could for my own personal use. I refined the idea over a two-year period of R&D and field testing. When I finally decided to launch the project through a Kickstarter campaign, I just attributed the success to hard work and refined design rather than as a work of art.

    —Geoffrey Franklin on what it’s like for his Kickstarter-funded bike frame to be featured in the MoMA Design Store

  5. Project of the Day—Newspapers: still great. Design: also great. Well designed daily newspapers about design: you get where this is going, we’re sure. The C77 Design Daily is an actual newspaper about designers, collectives, and other cool design stuff. It’s made by the people behind Core77, an internet magazine that has been publishing since 1995 (we forgot the internet existed then), and will be distributed as NYCxDesign is happening in New York in the middle of May.

    Project of the Day—Newspapers: still great. Design: also great. Well designed daily newspapers about design: you get where this is going, we’re sure. The C77 Design Daily is an actual newspaper about designers, collectives, and other cool design stuff. It’s made by the people behind Core77, an internet magazine that has been publishing since 1995 (we forgot the internet existed then), and will be distributed as NYCxDesign is happening in New York in the middle of May.

  6. Octavio Pardo is a type designer from Spain. He created a set of five typefaces intended for protest signs, pictured above, and is now running a project to help make them universally available. The specificity and design-oriented approach piqued our interest, so we asked Octavio some questions.
Could you talk a bit about your design background in general?
I started as a graphic designer working in different studios in Barcelona. One day, one of my Art Directors told me: “You are a badass graphic designer, but you have no idea about type.” Since I am very stubborn, that day I decided I would learn as much as I could about typography. I ended up studying type design in England and then working for some of the most talented type designers in the world. Nowadays I freelance as a graphic designer and do type design projects as I seek true happiness :)

What are the characteristics of a good typeface?
There are two levels to judging a typeface. First, how interesting is the design? Second, how well is that design implemented throughout the entire piece of work? Since everything that matters in typography is quite subtle, it’s hard to tell if a typeface is well done if you don’t know where and how to look. But in the end, when you are looking at it, reading it, or using it in the right way, a good typeface makes things look great!

What attracted you to protest signage in particular?
Since I was very young, I was always amazed by protest images, both amateur ones and ones made by designers. They are pieces of communication that most of time seek to make an impact through the message, not through spectacular visual compositions. The concept goes straight to the mind. The work done by Adbusters, Jonathan Barnbrook… those are the reasons why I became a type designer.

Do you have personal history with protests?
During the first two years of the spanish recession, I was seeing my friends losing their jobs, my brother and sister having a very bad time, cases of corruption in the government every week on the news. Almost every time you turned on the TV you could see people striking and protesting, all over the country. I feel like doing something, but didn’t know what to do. That weight in my chest turned into a trigger for my creativity. I guess that is the feeling behind any emotional piece of art, but I’m not an artist, I am a graphic designer and a type designer. 
I am cautious about joining protests in general. The reason is that most of the information that the citizens get to establish their criteria comes from the media, and I simply do not trust the media anymore. They are aligned with political parties, not with the people. Without reliable information I hate to take positions on any idea. The people, I trust them.        

What are your future plans for this project?
First of all, I will finish it the way I want it to be. That still means a lot of work, especially [the typeface] “Revolution.” I am also negotiating with a big company to create companions for the fonts in different scripts; that would make it a really universal tool. And once the project is launched and finished, I want to add two more fonts to it. These are different but related ideas within the Tiananmen concept.

    Octavio Pardo is a type designer from Spain. He created a set of five typefaces intended for protest signs, pictured above, and is now running a project to help make them universally available. The specificity and design-oriented approach piqued our interest, so we asked Octavio some questions.

    Could you talk a bit about your design background in general?

    I started as a graphic designer working in different studios in Barcelona. One day, one of my Art Directors told me: “You are a badass graphic designer, but you have no idea about type.” Since I am very stubborn, that day I decided I would learn as much as I could about typography. I ended up studying type design in England and then working for some of the most talented type designers in the world. Nowadays I freelance as a graphic designer and do type design projects as I seek true happiness :)

    What are the characteristics of a good typeface?

    There are two levels to judging a typeface. First, how interesting is the design? Second, how well is that design implemented throughout the entire piece of work? Since everything that matters in typography is quite subtle, it’s hard to tell if a typeface is well done if you don’t know where and how to look. But in the end, when you are looking at it, reading it, or using it in the right way, a good typeface makes things look great!

    What attracted you to protest signage in particular?

    Since I was very young, I was always amazed by protest images, both amateur ones and ones made by designers. They are pieces of communication that most of time seek to make an impact through the message, not through spectacular visual compositions. The concept goes straight to the mind. The work done by Adbusters, Jonathan Barnbrook… those are the reasons why I became a type designer.

    Do you have personal history with protests?

    During the first two years of the spanish recession, I was seeing my friends losing their jobs, my brother and sister having a very bad time, cases of corruption in the government every week on the news. Almost every time you turned on the TV you could see people striking and protesting, all over the country. I feel like doing something, but didn’t know what to do. That weight in my chest turned into a trigger for my creativity. I guess that is the feeling behind any emotional piece of art, but I’m not an artist, I am a graphic designer and a type designer. 

    I am cautious about joining protests in general. The reason is that most of the information that the citizens get to establish their criteria comes from the media, and I simply do not trust the media anymore. They are aligned with political parties, not with the people. Without reliable information I hate to take positions on any idea. The people, I trust them.        

    What are your future plans for this project?

    First of all, I will finish it the way I want it to be. That still means a lot of work, especially [the typeface] “Revolution.” I am also negotiating with a big company to create companions for the fonts in different scripts; that would make it a really universal tool. And once the project is launched and finished, I want to add two more fonts to it. These are different but related ideas within the Tiananmen concept.