Most people won’t even notice, but Dunkin’ has dropped the word Donuts from its name. The change is probably long overdue. The average millennial has no clue how the name originated or what made “Dunkin’ Donuts” so descriptive of their offering. The name is alliterative and fun to say, for sure, but only old-timers know how cleverly the name describes the favorite way to enjoy the snack. The practice of dunking doughnuts in steaming hot coffee or hot cocoa became popular around 1934 after movie idol Clark Gable showed Claudette Colbert how to do it right in the hit film “It Happened One Night.”
In 1950 when Bill Rosenberg opened the first Dunkin’ Donuts shop in Quincy, Massachusetts, the name was an accurate description of how to enjoy the snack. Since then the number of Dunkin’ Donuts franchises worldwide has shot up to more than 11,500, and the menu has expanded to include croissants, muffins, bagels, frozen drinks, sandwiches and wraps, hash browns, and 50+ kinds of donuts. The old name was limiting and misleading and needed to be retired.
For decades, ramen has been considered “cheap eats.” Dry ramen noodles with a flavor foil packet could be bought for less than 30 cents a box. Just add a cup of boiling water, steep, and eat. More than one college student has subsisted on instant ramen for months at a time. Ramen wasn’t featured on the menu of fancy Japanese restaurants. That’s no longer the case. Now Americans are being exposed to the delicate yet complex flavor of true ramen. Freshly made ramen noodles is served with a wide selection of broths, including pork, chicken, seafood, and beef, and served with artfully arranged toppings such as vegetables, mushroom, seaweed, meats, egg, and the like.
Trendy ramen bistros are popping up all over the U.S. One of the most notable upscale ramen houses is Afuri in Portland, Oregon. The sleekly modern restaurant, which seats 90 diners, features ramen as its main specialty, and is renown for its signature ramen dish made with a citrusy yuzu broth.
Portland-based Murmur Creative was commissioned to develop a sweeping design branding program for Afuri that combines the Japanese aesthetic with the Pacific Northwest’s inviting style.
If you think that when you’ve seen one Starbucks cafe, you’ve seen them all, you need to visit the Starbucks Roastery and Reserve Tasting Room in Shanghai. The Starbucks signature mermaid and green brand elements are underplayed to the point of not being noticeable. Elegant wood and gleaming copper finishes adorn the 30,000-square-foot establishment, staffed by 400 employees. The place feels like “Disneyland” for caffeine lovers.
The sights are awesome and entertaining! A towering copper cask, adorned with more than 1,000 traditional Chinese chops (stamps) hand-engraved to narrate the story of Starbucks and coffee. A ceiling made out of 10,000 handmade hexagonal wooden tiles, inspired by the locking of an espresso shot on an espresso machine. A Roastery featuring three wood-carved bars, one of which is 88 feet long, where customers can watch beans being roasted and baristas brewing coffee using six different methods and beans from 30 countries. If that isn’t enough, an integrated AR system, built with an Alibaba web app, lets customers immerse themselves in the space through their smartphones. There is also specially crafted nitrogen-infused teas at the tea bar, and an on-site bakery offering scrumptious artisanal baked goods by famed Italian baker, Rocco Princi acclaimed from Milan to London.
With a population of 24 million people just in the city of Shanghai, even a gigantic Starbucks store can’t serve all the locals. Shanghai already has 600 other Starbucks cafes in the city, and 3,000 locations in 136 Chinese cities, with one new Starbucks location opening in China every 15 hours.
When people think of becoming a designer, they usually think of print graphics, industrial, digital, environmental, interior, software, etc., but design encompasses a lot more territory than that and has many subsets. This is an interview with Dublin-based designer Annie Atkins who specializes in creating authentic-looking props and graphics for such films as Wes Anderson’s The Grand Budapest Hotel. Here, Atkins talks about her craft and the importance of paying attention to seemingly insignificant details.
Pantone, the authority on all things color, has announced that Ultra Violet – aka, Pantone 18-3838 — will be the Color of 2018. Pantone didn’t come up with this pronouncement arbitrarily, although it would seem that funereal black or pukey orange would be more fitting to the times. Pantone color gurus, however, are more philosophical and optimistic – and less snide. The Institute describes Ultra Violet as associated with “mindfulness practices, which offer a higher ground to those seeking refuge from today’s over-stimulated world.” Pantone vice president Laurie Pressman says, “Pantone Color of the Year has come to mean so much more than ‘what’s trending’ in the world of design, it’s truly a reflection of what’s needed in the world today.” Considered in that light, I would nominate “Pussy Hat Pink” or Fire Rescue Red” instead.
Lawrence King has produced two new books in a design series for the enjoyment and education of designers, illustrators and marketers worldwide. The Illustration Idea Book and The Typography Idea Book, yet again combine the genius of Steve Heller and Gail Anderson. With descriptive illustrations from dozens of international masters of design and illustration, including Alan Fletcher, John Cuneo, Milton Glaser, Christoph Neiman, Paula Scher, Neville Brody, Barry Blitt, A.M Cassandra, Saul Bass, Steven Doyle, Niklaus Troxler, Zuzanna Licko, Anita Kunz and dozens of other design legends.
March 16 – July 14, 2019
Wanxin Zhang: The Long Journey is the first museum solo presentation of Wanxin Zhang’s work in San Francisco. At The Museum of Craft and Design, this exhibition is a survey of Zhang’s ceramic sculpture from 2006 to 2017 and celebrates the artist’s signature style—a hybrid of California Funk influence and nods to Chinese history.
The American Institute of Graphic Arts (AIGA) is holding its annual design conference in Pasadena from April 4-6, 2019. This will be the first time in years that the conference has come to Los Angeles. These three days present a prime opportunity for new designers to meet industry professionals, as well as discover new skills in the multifaceted design field.