The RadiSys Product and Application Guide was a semi-annual, 30+ page magazine, that was poly-bagged with leading industry magazines. We also distributed the magazine to channel partners, sales teams, and other marketing venues. The magazine covered many of the key technologies RadiSys was engaged in, and helped introduce readers to more in-depth technology white papers.

The cover for each edition was abstract, often derived from a key technology discussed in the magazine. I had a diverse role, serving as editorial/art director, as well as writing many of the headlines (my favorite, “Need for Wirespeed”), and completing the brand illustrations throughout.

The magazine content was leveraged on a microsite that included 360 degree photos, personalization features, such as font-size adjustments, and email-to-a-friend, as well as other user interface enhancements.

Base Camp Brew is a fictional beer label that I developed during my senior year at Portland State. The project entailed a deep level of research on the key demographic – outdoor and extreme sports enthusiasts – and I used this research to devise a company name, logo and brand identity, a product naming scheme, copywriting and packaging.

The logo design idea came from trying to consider how a stamp or logo mark could possibly be made with only the materials found at base camp. You’d likely only have scraps left behind by others, and while I’m not sure how many bottles of beer litter base camps, a bottle seemed likely necessity – especially for a base camp of beer lovers.

The logo is essentially the mark made by the bottom of a bottle dipped in some marking agent – be it candle wax, blood, iron water or other dye.

The beer name, “Twisted Navel Bitter Ale”, was inspired by the naming conventions used by rock climbers to identify specific routes. Future beer names for the Base Camp Brew label would follow this same inspiration.

The packaging followed the same approach as the logo design – package the beer with materials found at base camp. From tattered pieces of yellow Gore-tex®, to torn bits of photos and notes, to a healthy fix-all dose of Duct® tape, the 6-pack holder looks like something truly made from found materials.

UPCOMING PROJECT NOTE: Over the next few months I’ll be developing a video series based on the Base Camp Brew ideation process. The series will explore how one goes about finding ideas, researching, and project development. In addition, I’ll be developing accompanying tutorials for new pieces developed for this personal project, as I extend the project beyond logo and packaging. Follow CodeSecrets on Twitter for updates.

There are times as a photographer that it’s helps to take the camera away from your eye and really look at what is going on around you. When I take photos in a foreign city, or I’m documenting an event, I like to take a good selection of candid shots without holding the camera to my eye – instead shooting from the hip.

There are several benefits to this approach. First, you appear more causal, inconspicuous, and this means you’re able to capture moments you’d likely miss for fear of being rude. Second, your subject, being oblivious to your camera, don’t do the typical camera response, and look away. There’s also the benefit of instantly getting a better perspective. It’s surprising how much better photographs can appear when you change from eye level. And finally, it reintroduces some of the surprise lost with digital photography by not being sure exactly how the image will turn out. Just take lots of photos and look for scenes you can leverage into creative work. (And of course it doesn’t hurt to study the work of masters like Henri Cartier-Bresson).

The above photograph was taken while traveling in Prague several years ago. I shot the image by setting the f-stop at a safe 8, the shutter at 200, and a high ISO (800). I also used a 50mm fixed focal lens. I also used a wireless cable release. All of these settings allowed me to be more casual in how I moved, and clicking anytime I saw something interesting.

I’m guessing (although I can remember for certain) that I saw this couple walking and anticipated the point at which they’d pass in front of the large column. The rest of the composition was by accident (resulting in a cut off foot).

The photograph has turned out to be one of my more enjoyable pictures from the trip, not because of it’s beauty and color, but what it communicates across languages about relationships, especially when a couple reaches the later years of life.

Give it a try sometime. Shoot candid. Shoot from the hip.

Every year I’m lured by awesome features to upgrade Adobe Creative Suite. And as a true sucker for the latest and coolest, I usually bite. This year I decided to put these expectations to the test and put each product I’m familiar with through a gut check gadget – is it cool, will it inspire me to do better work? and will I work better?

The review series will focus on the stuff Adobe promotes as great new features. I’ll be doing a post each week, focusing on a different product, working my way, first through ones I’m most familiar with (Photoshop, Illustrator, Flash, InDesign, AfterEffects, Premiere) and then moving to those products that are new (Flash Catalyst) or abandoned (Dreamweaver, Fireworks).

This week it’s Adobe Flash CS5…

1. New Code Editor with Code Snippets

Anyone who’s ever worked in the Flash IDE (Integrated Development Environment) has hated the Flash code editor. And while technically, the new code editor isn’t a “new” feature, it should be considered new.

Finally, you get custom code hinting and…best of all curly brace completion. In addition, it looks like they fixed an annoying bug with code between Flash CS4 and Flash Builder – you can now copy and paste text from Flash Builder into Flash…wow. The editor has truly been brought into the 21st century.

2. SWF Compile File Size and History

This is really a time saver. Anyone who’s had experience developing SWF files in the Flash IDE for specific file size specifications, has always struggled to know exactly what the current file size was, not to mention what recent change caused the increase in size. You could use the size report function in the publish settings, but that was tedious to read. Now, on the properties panel, you get a SWF file size and history for each compile.

3. Flash CS5 and Flash Builder Integration

Anyone who’s worked on a large Flash project immediately understands the benefits of working in a dedicated development environment like Flash Builder for coding. But no one should ever suggest creating graphics by code – which is why Flash CS5 is still a key element for developing graphics for Flash applications.

To make it easier to work in the best of both worlds, you can now link your Flash CS5 project to Flash Builder, code in Flash Builder and create and publish from Flash. This is really nice for designers who code. Is it worth it to get Flash Builder if you’re coding is not that complex? Probably not. With CS4 my response would have been different but the Flash CS5 code editor truly is improved.

4. XML-Based Flash Resource Files

This is actually more impressive than it might first seem. I’ve not a had chance to really put it to the test, but the very fact that you can edit outside of the Flash IDE – things like color, text, etc – is really powerful. No longer can die-hard developers complain about Flash  locked down. Just provide them with an uncompressed .xfl file and they can edit and recompile with the Flex SDK.

5. Inverse Kinematic Effects

There are times when it’s good to use Flash for what it was originally intended – a timeline based animation tool for  “rich” visual animations on the web (ok, so what I’m saying is banner ad development). This feature is a great addition for those that use Flash for animation. You can add cool animation parameters, such as decay, to simulate real-life effects.

There are other new animation features such as a particle system, that also are quite interesting, and I can see situations where these might be fun in games. I will say, I’ve never been impressed with tools that I cannot customize – such as the “new” building draw tool – who cares? The buildings are ugly. Now if I could create my own buildings and draw with those….yeah, not impressed with the Building Deco feature.

I’m also not that impressed with the new video features. Yes, this is nice for quick fast cue point creation and video player development, but for professional work and production, it’s just not that feasible to hard code videos into a player with the components. The cue points can be added just as easily with code, or in Adobe Premiere, or Adobe Media Encoder – so I’m not really hyped by this new feature.

And of course – the biggest feature – exporting to Apple’s iPhone platform – turned out to be a bust. Adobe’s at fault for chasing this in the first place. Did they really think Jobs would give it up? Now I guess they’re rushing to push out a similar feature for Android, and that should be more promising.

I’m working my way through the the eBook ($19) and I’m not nearly through, but I thought I’d give the book an un-sponsored shout out. And for those that might be turned off by the manifesto bit (I usually am so I understand), this is more a rallying cry to yourself to understand your competitive position int he market, whether you’re running the ship, or you’re a deckhand. You need to understand your own unique strengths, give up on trying to be everything, and position yourself in the best competitive position you can.

For those interested,  you can read The Win Without Pitching Manifesto online for free.

[UPDATE 08-05-2010] I did manage to finish this book – a rarity for me but also a testament to the quality of thinking. I have only a few comments after finishing. First, I felt that many points could easily be applied to an individuals career as much as a design firm. As a web designer, you’re only as good as your ability to be knowledgeable, insightful and creative. You’re paid a premium based on your ideas, concepts. No one pays a premium for what can be done fast. And if you find that’s what you’re spending most of your time doing…well beware, there software being developed that can do it faster.

Another thing I feel an individual can take from this book is the focus on your portfolio. Your work should inspire. It should make the person want to hire you, not because they think you’re expecting to do this sort of stuff every day (there’s always bread and butter projects) but they want to think that you can. Be very pretentious about your portfolio.

I do have an issue with the doctor-patient analogy often used by high-design evangelists. I didn’t go to school to be a doctor. Design is important. Some design even life-saving important  (i.e. the exit sign). But most of us expect that there will be some client interaction, that clients can have good ideas, that in fact a client can be a designer. You’ve been hired more as a guide, an inspiring guide that will lead the way…astonish, amaze, and listen. Doctor’s don’t always listen. Good designers listen. And the design industry will benefit from leaving the doctor comparison behind.