Cartoonist and theorist Scott McCloud has been making and thinking about comics for decades. He is the author of Understanding Comics: The Invisible Art. This classic volume explores formal aspects of comics, the historical development of the medium, its fundamental vocabulary, and various ways in which these elements have been used.

Scott McCloud breaks down some of the universals in comics and guides us through some of the comic books that pushed the art form forward. Then we use that lens to look at graphic communication in the world at large.

Speech Bubbles: Understanding Comics with Scott McCloud

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When air conditioning was invented in 1902, it was designed to take out the humidity in the air so printers could run four color magazines, without the colors becoming offset due to the paper warping from moisture. A young engineer named Willis Carrier developed a system that pumps air over metal coils cooled with ammonia to pull moisture from the air, but it had a side effect -- it also made the air cooler. Very quickly Carrier began to think about how it could be used beyond printing. Ultimately, air conditioning would dramatically change where people in the United States lived and the design of homes and other buildings.

Thermal Delight

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This part two of the 2017/2018 mini-stories episodes, where Roman interviews the staff and our collaborators about their favorite little design stories that don’t quite fill out an entire episode for whatever reason, but are cool 99pi stories, nonetheless.

We have underground tunnels, alarms, mysterious filing cabinets, and gold, tiny, tiny amounts of gold. Prepare to be very interesting at your next party.

Mini-Stories: Volume 4

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Japan’s Shinkansen doesn’t look like your typical train. With its long and pointed nose, it can reach top speeds up to 150–200 miles per hour. It didn’t always look like this. Earlier models were rounder and louder, often suffering from the phenomenon of "tunnel boom," where deafening compressed air would rush out of a tunnel after a train rushed in. But a moment of inspiration from engineer and birdwatcher Eiji Nakatsu led the system to be redesigned based on the aerodynamics of three species of birds. Nakatsu’s case is a fascinating example of biomimicry, the design movement pioneered by biologist and writer Janine Benyus.

This is one of a series of design videos we're launching in partnership with Vox.

Biomimicry

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It’s the end of the year and time for our annual Mini-stories episodes. Mini-stories are quick hit stories that were maybe pitched to us from someone in the audience, or something interesting we saw on twitter, or just a cool tidbit that we found in our research that stuck in our heads, but didn’t warrant a full episode for whatever reason. We’ll have stories of mysterious ice boats, green ruins, sack dresses, steampunk violins, and a little update from a couple of the notable city flags that have been redesigned around the country.

Mini-Stories: Volume 3

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In the early morning of August 5, 2001, artist Richard Ankrom and a group of friends assembled on the 4th Street bridge over the 110 freeway in Los Angeles. They had gathered to commit a crime. Years before, when Ankrom was driving through downtown Los Angeles, he was going to merge onto the I-5 North. But he missed the exit and got lost. The I-5 exit wasn’t indicated on the green overhead sign. It was clear to Ankrom that the California Department of Transportation had made a mistake. And for some reason, this stuck with him. Ankrom, an artist and sign painter, decided to make the Interstate 5 North shield himself. He also decided that he would take it upon himself to install it above the 110 freeway.

He would call it an act of “guerrilla public service.”

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In the past fifty years, the car crash death rate has dropped by nearly 80 percent in the United States. And one of the reasons for that drop has to do with the “accident report forms” that police officers fill out when they respond to a wreck. Officers use these forms to document the weather conditions, to draw a diagram of the accident, and to identify the collision’s “primary cause.” All that information gathered on the side of the road goes from the accident report form into a federal database: the Fatality Analysis Reporting System.

Car companies, safety advocates, and regulators comb through this data constantly, looking for patterns that help them understand how and why people die in car wrecks. In turn, this information helps designers and engineers create safer vehicles and roadways. The data informs all kinds of design decisions around car safety — everything from speed limits to mandatory seat belts.

But this culture of heavily regulated, data-driven, auto-safety engineering did not always exist. In fact, for decades, automakers tried to keep data about car wrecks to themselves. They not only resisted making cars safer, they argued the very idea of a “safe car” was impossible.

The Nut Behind the Wheel

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While the 1960s shift in print and TV advertising has been heavily documented and mythologized by Mad Men, Madison Avenue’s radiophonic collision with the counterculture is less well known. A radio advertising producer, writer, and composer, Clive Desmond takes listeners on a highly subjective journey through one narrow, eccentric, corridor of radio advertising. Here, he has rescued beautiful forgotten nuggets of radio history and delicately arranged them into a glittering associative chain—a constellation of jingles and spots that somehow all add up to more. A version of episode was originally featured on The Organist, a bi-weekly experimental arts-and-culture program from McSweeney's and KCRW.

A 700-Foot Mountain of Whipped Cream

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For a long time, anti-counterfeiting laws made it illegal to show US currency in movies. Now you can show real money, but fake money is often preferred. Creating fake money that doesn’t break the law, but looks real enough for film, is a tough design challenge.

Money Makers

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When a new movie comes out, most of the praise goes to the director and the lead actors, but there are so many other people involved in a film, and a lot of them are designers. There are costume designers and set designers, but also graphic designers working behind the scenes on every single graphic object that you might need in a film. It’s Annie Atkins’s job to design them.

Hero Props

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