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If we’ve heard it once, we’ve heard it a thousand times: “I could tell you this Big Design News, but then I’d have to kill you.” Now you can give us the scoop and skip the messy task of plotting murder, thanks to our handy “Anonymous Tips” box nestled in the menu bar at right, just below the search box. Simply type in your news—design happenings, movements of the Revolving Door, a bit of gossip, a designer’s hidden talent, or any newsy, design-y morsel—and click “Send.” And for those not inclined to clandestine tipping, we’re still just an e-mail away.

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This week, The Boston Globe is hiring a digital designer, while KGTV needs a chief photojournalist. Pyramid Consulting Group needs a graphic design coordinator, and Morris Media Network is on the hunt for an assistant art director. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

New Career Opportunities Daily: The best jobs in media.

How can technology reinvent and deepen the museum experience? New York’s 92Y recently convened a panel of forward-thinking museum pros to tackle the question, and we sent writer Nancy Lazarus to report back on what the future of museums may look–and sound and feel–like.

A visitor gets in touch with the Cleveland Museum of Art’s “Collection Wall,” a 40-foot, interactive, microtile wall featuring over 3,500 works of art from the permanent collection.

King Tut may finally have met his match: interactive technology. “Digital technology is as much a game-changer now for museums as blockbuster shows” were in the late 1970s, said Cara McCarty, curatorial director of New York’s Cooper-Hewitt National Design Museum. The Metropolitan Museum’s 1976 Tutankhamen exhibit was a pioneer of the blockbuster, and now many of the Met’s ancient treasures are also viewable on interactive touchscreens.

McCarty moderated a recent 92Y panel about technology trends and the future of museums. When she said, “Technology is hitting us all like a tidal wave,” she wasn’t lamenting, but referring to the overwhelming options. The panelists agreed, including Mark Robbins, director at New York’s International Center of Photography. “Nineteenth-century museums were comprised of a privileged set of objects,” he said. “Now museums offer more immersive experiences without walls.”

“Technology is a tool shaping museums’ future,” added Seb Chan, Cooper-Hewitt’s director of digital and emerging media. Interactive options enrich visitors’ experience, especially for storytelling. Chan described the mobile app at Australia’s Tasmanian Museum and Art Gallery. \It senses where gallery visitors are and delivers custom content, thereby eliminating wall labels. London’s Tate Museum has a similar app, the Magic Tate Ball, which promises, “It’s like having the Tate in your pocket.”

Another proponent of technology’s narrative power is Jake Barton, founder of Local Projects, a firm that designs media installations for museums. One client is New York’s 9/11 Memorial Museum, slated to open next year. He previewed an exhibit where visitors will use interactive maps to pinpoint their locations when they learned of the 9/11 news. Then they record messages about that moment, and their voices will play in the background as visitors view the exhibit.
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Twenty years on, Andre the Giant still Has a Posse, and now the subversive sticker campaign that ignited Shepard Fairey‘s worldwide propaganda delivery system gets its cinematic due in Obey the Giant, a narrative film that makes it online debut today (watch it above). Director Julian Marshall is fresh out of the Rhode Island School of Design, Fairey’s alma mater and the setting for the 23-minute film. Based on the true story of Fairey’s first act of street art, Obey the Giant is something of a portrait of the artist as a young skate punk–challenging a big-city mayor (the oleaginous Buddy Cianci, played by Keith Jochim) and the powers that be at art school.

“We moved heaven and earth to make this film,” Marshall (pictured below) told us of the ambitious project, for which he raised $65,000 through Kickstarter last spring. “Pre-production was about six weeks. We had to build an army of people, elaborate sets, a 27,000-pound billboard, and pull together an insane amount of props from the 1990s. It was an amazing time though. My crew and I truly became a family.” The Washington, D.C. native, now based in NYC and at the helm of his own film production company, told us more about how Obey the Giant came to be and the hot-button issue he’s planning to tackle next.

How and when did you first encounter Shepard Fairey’s work?
I first encountered Shep’s work on my first skateboard back in the 90s. I had just bought a World Industries deck and the shop owner slapped an “Andre the Giant Has a Posse” sticker on it.

What compelled you to make a film about him?
One morning, I was lying in bed, staring at the OBEY icon poster on my wall that Shep had given me when I interned for him, and I thought: Well, what better story to tell as a RISD student than a story of a RISD student? I had the connection to Shep having worked for him, so I emailed his wife, Amanda, pitched her the project, and a week later I heard back and she said, “Okay, Shepard’s really excited about the project, come out to L.A. and let’s talk about it.”

How did you decide on the format of this project, in terms of making it a narrative film rather than a documentary?
Documentaries don’t particularly interest me from a directorial standpoint. I love the intensity and edginess of the process of making motion pictures. So naturally, when I first thought of this story, I conceived of it in narrative terms.
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(Photo: Erik Smits)

“Ten years of slow days / ten years of wakeful nights / till what was to come would be disclosed,” wrote Remco Campert in a poem commissioned as part of today’s reopening of the Rijksmuseum, the national art museum of the Netherlands. The long-awaited occasion was celebrated with a spectacular opening ceremony during which the soon-to-abdicate Queen Beatrix, wearing a large black chapeau that made her resemble a Playmobil figure or one of Rembrandt‘s beloved gang of Staalmeesters, followed her private preview of the renovated museum with a trip down the orange carpet to turn a giant golden key before an audience of thousands. Fireworks and free admission (’til midnight) followed.

Designed by Renaissance revivalist Pierre Cuypers and completed in 1885, the Rijksmuseum has been closed since 2003. “It’s a kind of Harry Potter castle. It’s a crazy building, a sort of neo-gothic Arts and Crafts building covered in images. It’s a comic strip,” said director Wim Pijbes in a recent interview with Apollo magazine. “It’s the last hooray for neo-gothic–just a year later, the Eiffel Tower was built, welcoming a new age.” The decade-long overhaul, which cost nearly $500 million, half of which was supplied by the Dutch government, includes the integrative building renovation of Cruz y Ortiz, who burrowed underground to link the museum’s two separate halves and add an atrium, a fresh installation (of some 8,000 objects) masterminded by Jean-Michel Wilmotte, and Copijn’s redesign of the surrounding garden. “What is the new Rijksmuseum about in one word? It is time, time embodied in taste or fashion, however you like,” said Pijbes. “We are a time machine.”

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Spring has finally sprung, and so it’s possibly to gaze upon snowflakes–or at least images of snowflakes–without shivering. These fine specimens were photographed in 3-D as they fell by a high-speed camera system developed by researchers at the University of Utah and its spinoff company, Fallgatter Technologies. “Until our device, there was no good instrument for automatically photographing the shapes and sizes of snowflakes in free-fall,” says Tim Garrett, an associate professor of atmospheric sciences. “We are photographing these snowflakes completely untouched by any device, as they exist naturally in the air.” In addition to taking the first automated, high-resolution photos of snowflakes, Fallgatter’s Multi Angle Snowflake Camera measures how fast the flakes fall and according to Garrett, “collects vast amounts of data that can be used to come up with more accurate and more representative characterizations of snow in clouds” for improved weather forecasting.

New Career Opportunities Daily: The best jobs in media.

Get your sketch on with Trace, a simple and beautiful yet incredibly useful iPad app created by the architects of the Morpholio Project. Free to download, the sketch utility allows users to instantly draw on top of imported images or background templates, layering comments or ideas to generate immediate, intelligent sketches that are easy to circulate. “Tracing over something is absolutely the foundation of the app,” says co-creator Toru Hasegawa. “Layers of trace paper are not the same as ‘layers’ in Photoshop or other tools. Here, they are the stacking of ideas, as opposed to the organizing of files.”

Got an app we should know about? Drop us a line at unbeige [at] mediabistro.com

New Career Opportunities Daily: The best jobs in media.

• Visit St. Petersburg, Shanghai, Mumbai, and Dubai without leaving your home in journalist Daniel Brook‘s A History of Future Cities, new from Norton. Stop by Brooklyn’s powerHouse Arena on Thursday, April 18, for a discussion with Brook.

• Elsewhere in far-flung reading material, don’t miss the dreamy (if envy-inducing) Designers Abroad, in which Michele Keith peeks inside the vacation homes of the likes of Mica Ertegun, Juan Pablo Molyneux, and Juan Montoya. The envy-inducing tome, a follow-up to Keith’s 2010 Designers Here and There, is out next week from Monacelli.

• When in doubt, ask yourself: What would Jacques Derrida do? Deconstruct the possibilities with the help of a recently translated biography by Benoît Peeters.

• “Some people become cops because they want to make the world a better place,” Banksy has said. “Some people become vandals because they want to make the world a better looking place.” Steep yourself in the street art superstar with reporter Will Ellsworth-Jones‘s Banksy: The Man Behind the Wall (St. Martin’s Press), an unauthorized biography that tries to piece together Banksy’s path from vandalism to international stardom and an Oscar nomination.
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“It used to be that design was all about industry and it was very geographically anchored to the means of production. Then it became more dependent on the tertiary sector of design, on showrooms and fairs. In my opinion, the geography of design is now set by schools. You can’t talk about Italian design or British design—it’s old-fashioned. It really is about whether someone comes from [the Design Academy of] Eindhoven or the Royal College of Art in London. In this kind of scenario, meetings like the Salone are still very important because they are great business opportunities. The problem is that design has spread out in many directions and I think it’s important for the Salone to attract corollary events that are about interaction design and interface design.”

-Paola Antonelli, director of research and development and senior curator of architecture and design at MoMA, in an interview with Ermanno Rivetti for The Art Newspaper

Watch Antonelli’s recent appearance on The Colbert Report:

New Career Opportunities Daily: The best jobs in media.

These days, fashion designers rarely align on seasonal trends such as hemlines and skirt shapes, but runway watchers remain abuzz over statement shoes, even if they are all but invisible to those without front-row seats. Even Celine’s minimaluxe ready-to-wear and steady stream of hit handbags was recently outshined by the house’s furry stilettos and sandals, including a Meret Oppenheim-gone-grandpa style that is flying off store shelves. The Museum at the Fashion Institute of Technology in New York has seized the moment to present an exhibition that highlights the extreme, lavish, and imaginative styles that have made shoes central to fashion. We asked writer Nancy Lazarus to put on her reporting shoes and size up the show, on view through Saturday.

Roger Vivier’s Eyelash Heel pump, designed by Bruno Frisoni for the fall 2012 “Rendez-Vous” limited edition collection. (Photo: Stephane Garrigues, courtesy Roger Vivier)

“Everything here is wearable, it’s just not walkable”, said Colleen Hill, co-curator of the Museum at FIT’s “Shoe Obsession” exhibit. Leading a tour of the show during its final week on display, she explained that the focus was extreme, extravagant 21st-century shoes and boots. Hill and co-curator Valerie Steele included not only fan favorites like Blahnik and Louboutin, but also the latest experimental prototypes.

The exhibit’s selections represent a commentary on an era rather than a reflection on wearability, Hill noted. “The inspiration for these shoes is sculpture and architecture. Some are shoe objects, one-of-a-kind or limited editions,” Hill said. Three styles are on display: single-sole stilettos, platforms, and more avant-garde heel-less shoes favored by the likes of Daphne Guinness and Lady Gaga.

Recent shoe designs tend to rely more on manmade materials. A few prototypes utilized 3-D printing processes. One experimental design was made of resin, while a pair of slippers was glass. A pair of Pierre Hardy heels sported neoprene, more often associated with athletic wear.

“Women now are building their shoe wardrobes, and the average number of shoes women own has doubled to twenty,” according to Hill. And even designer flats come with high price tags. “$458 now is the cost of just one pair on sale,” she noted. Of course, not everyone shops at Saks (an exhibit sponsor that lent the museum several pairs of shoes), where shoppers can speed to the eighth-floor footwear paradise–the famously expansive 10022-SHOE–via a designated express elevator.

While some designers’ attitudes toward shoes remain static, others are evolving. Hill credits Manolo Blahnik and Christian Louboutin as the two most important shoe designers of this century. Blahnik, the stiletto master whose name is linked with the democratization of high-fashion shoes thanks to Sex and the City, considers platforms “inelegant.” Louboutin, famous for his red soles, was inspired by showgirls and fetish shoes. “He’s unapologetic that his shoes aren’t more comfortable,” Hill said. On a positive note, the increase in female designers means that more are wearing their own shoes, so they’re making them more comfortable–in other words, walking the talk.

Nancy Lazarus has covered media and marketing for mediabistro.com’s PRNewser. Her last contribution to UnBeige explored terraces in Manhattan. Learn more about her at www.NL3Media.com.

New Career Opportunities Daily: The best jobs in media.

This week, Shutterstock is hiring an illustration/vector reviewer, while Spontaneous needs a creative director. Landor is seeking a senior designer, and RedNova Learning is on the hunt for a managing designer. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

New Career Opportunities Daily: The best jobs in media.

Cornell seniors Katie McDonald and Kyle Schumann’s “Twofold” is among the semifinalists in Design Museum Boston¹s Street Seats International Design Challenge.

• Design Museum Boston‘s Street Seats International Design Challenge, a competition launched last fall, will culminate with an exhibition of the 20 benches selected as semifinalists. Fabricated out of environmentally-friendly, sustainable materials, the benches were chosen by a jury out of more than 170 submissions by designers, professional teams, and artists representing 22 states and 23 countries. The grand prize winner and runner-up will be selected at an opening celebration on April 27, when the public will pick their favorite to receive the people’s choice award.

• Yesterday marked the 183rd anniversary of Eadweard Muybridge‘s birth. Alexis Madrigal of the Atlantic pens a birthday message to the grandfather of the animated GIF.

• Better living through cars? Consider the possibilities on Thursday, when our friends at Inhabitat host a live webcast of “Design with a Conscience,” a conference where leading California architects and automotive designers will be discussing the intersection of car and building design and how conscious design can spur innovation.

• Someone at the New York Post has been watching the Rachel Zoe Project, prompting the paper to crown Nicholas Kirkwood “the new Manolo.” The widely lauded yet humble Brit knows a good kicker. “I was in two hip-hop songs,” he told the Post. “It was awhile ago. It was a Rick Ross and a Foxy Brown song. Kirkwood apparently rhymes with ’hood!’ ”

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This 1999 photo taken on the shores of Italy’s Lake Garda will be shown in “Martin Parr: Life’s a Beach,” an exhibition that opens May 2 at Aperture Gallery. (Photo: Martin Parr/Magnum Photos)

Last week, a man arrived at a Manhattan federal building to apply for a passport, became agitated, and ended up trying to hide from authorities–in the ceiling. Securing a passport to the arts is much easier–and comes with minimal risk of being arrested and taken to Bellevue for psychiatric evaluation–thanks to The New Yorker. The magazine and its promotions department are gearing up for the eighth annual Passport to the Arts gallery crawl, evening cocktail party, and silent auction (to benefit Creative Time) on Saturday, May 4. A $55 ticket gets you a “limited-edition passport” that each of the 19 SoHo and Chelsea galleries on the self-guided tour will stamp with a replica of a featured work of art. And with a list of participating galleries that includes Jack Shainman, Aperture Gallery, and ClampArt, this year’s Passport to the Arts promises to be quite a trip.

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Now approaching 50, Rolling Stone still rocks, and the storied bimonthly is in want of design assistance. The search is on for a crackerjack freelance designer to complete design and production work on front and back pages and a range of editorial design assignments, on a part-time basis. Bring your “expertise in typography and sophisticated design sensibility,” ability to make “a variety of record and movie review pages visually fresh and lively,” and pop culture passion. Got CS5 prowess, problem-solving skills, and a knack for working collaboratively? That’s music to their ears.

Learn more about and apply for this freelance designer, Rolling Stone job or view all of the current Mediabistro design, art, and photo jobs.

New Career Opportunities Daily: The best jobs in media.

Casa Lever is a feast for the senses. Tucked inside Gordon Bunshaft‘s eternally modern Lever House in midtown Manhattan, the restaurant features a beehive-gone-nautical interior dreamed up by Marc Newson, a fit-for-Fellini brand identity by Matteo Bologna and the gang at Mucca Design (don’t miss the wine list–it includes lovely maps!), and, for dessert, a mind-blowing gianduia that suggests Nutella as reimagined by a band of pastry-loving cherubs. And then there are the Warhols.

Thanks to a lending arrangement with Lever House owner Aby Rosen and his Lever House Art Collection, Casa Lever patrons dine with a wall of Warhol portraits: a pair of Hitchcocks profiles here, twin Jerry Halls there, the sassy Aretha that covered Ms. Franklin’s eponymous 1986 album and proved to be Warhol’s last work eyeing the exit. It’s always fun to play a round of “Which would you like to own?” while waiting for your ravioli di brasoto (or your third gianduia, as the case may be) to arrive, in which case one’s eyes are inevitably pulled to the rear of the restaurant, where the private room–aglow with the best Warhols of the bunch–floats above the scene from behind a Newsonian rounded rectangle of glass. Until recently, that’s where they kept the pair of pastel Dennis Hoppers from 1971, which stared down a couple of Giorgio Armani portraits in which the blue-eyed designer resembles a debonair Siberian husky.

As of today, there’s a new girl in town: Judy Garland. Warhol’s pair of Judys, executed in 1978 and circa 1979, debuted today in the Casa Lever private dining room. They are best admired in the company of a newly created “Judy Garland,” Casa Lever “mixologist” Cristina Bini‘s commemorative cocktail blend of bourbon whisky, barolo chinato, mint essence, and absinthe, and sure to take you somewhere over the rainbow in no time. “Edie [Sedgwick] and Judy had something in common–a way of getting everyone totally involved in their problems. When you were around them, you forgot you had problems of your own, you got so involved in theirs,” Warhol once said. “They had dramas going right around the clock, and everybody loved to help them through it all. Their problems made them even more attractive.”

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Break out the champagne and the ampersands, design fans, because there’s a rebranding afoot at the legendary brand design firm of Chermayeff & Geismar, the creative brains behind identities for the likes of National Geographic, the Smithsonian, NBC, and Chase. For the first time in 56 years, Ivan Chermayeff and Tom Geismar have company on the masthead–in the form of partner Sagi Haviv, who has been with the firm since 2003 (the same year that he graduated from Cooper Union). The firm will now be known as Chermayeff & Geismar & Haviv.

“In the last ten years, Sagi has proved to us time and time again that not only had he absorbed our design philosophy, but had contributed to it and enhanced it with awareness, energy, and talent,” said Chermayeff in a statement announcing the change. “Tom and I felt that the firm had reached a point where credit going forward into our common future should be shared equally amongst us.” For a taste of Haviv’s absorption and enhancement skills, treat yourself to “Logomotion” (below, created in 2008), his award-winning animated tribute to the firm’s famous trademarks.

New Career Opportunities Daily: The best jobs in media.

• On April 25 in NYC, spend the morning exploring the links between fashion and technology at “Cross-Pollination,” a half-day symposium organized by the Museum at the Fashion Institute of Technology in conjunction with the current “Fashion and Technology” exhibition. Register here.

• Run, don’t walk to Design and Mobility: The Twenty-Second Annual Parsons/Cooper-Hewitt Graduate Student Symposium on the Decorative Arts and Design. The two-day conference kicks off on the evening of Friday, April 26, with a keynote address by Yale professor Edward Cooke.

• Having enhanced your mobility at the aforementioned Parsons confab, hop across the pond to POINT London (May 2-3), a new conference that aims to raise awareness of the power of design to influence business, education, and society. Speakers include Seymour Chwast, Barber Osgerby (a.k.a. Edward Barber and Jay Osgerby), and typographer extraordinaire Erik Spiekermann.

• The Industrial Designers Society of America (IDSA)’s District Conferences are taking place throughout April around the country, from Hartford to Long Beach. Meanwhile, ready your inner iconoclast for “Breaking the Rules,” IDSA’s 2013 International Conference set for August 21-24 in Chicago and chaired by Paul Hatch.

• As Winnie the Pooh once said, it’s never too early to plan ahead. Mark your as yet unbesmirched autumnal calendar for “Head, Heart, Hand,” the 2013 AIGA Design Conference, which gets underway October 10 in the Mini Apple (Minnesota, that is).

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What’s better than winning a cube from the Art Directors Club? Accepting the coveted block of metal in sun-drenched, hot-pink Miami Beach, where the ADC decamped last week for its 92nd annual awards and Festival of Art and Craft in Advertising and Design, a three-day creativity confab that included Laurie Rosenwald‘s famous yet top-secret “How to Make Mistakes on Purpose” workshop and other inspiring presentations by the likes of Bruce Mau, Kyle MacDonald of the One Red Paperclip project, Rafaël Rozendaal, and LEGO pro Sean Kenney.

And there were awards, lots of them. Among this year’s cumulative winners were Dentsu Inc. (Design Firm of the Year), the School of Visual Arts (School of the Year), and McCann NY (Agency of the Year), while the third annual Designism award, honoring work that drives social or political change, went to Buck for its work promoting Good Books, the online bookseller that funnels all of its profits to Oxfam projects (see Buck’s take on Kafka’s Metamorphosis below).

Gold cube winners included Taku Satoh Design Office’s mouth-watering anniversary posters for Issey Miyake Pleats Please (design), Henry Leutwyler‘s breathtaking Ballet (photography), and The New York Times Magazine‘s “The Wild Life of Silent Spring” (illustration). Salivate over these and all of the big winners by downloading the first ever Art Directors Annual in digital form, produced in partnership with Brazilian digital technology company, the goodfellas. Grab the Art Directors Annual 91 app for free here.

New Career Opportunities Daily: The best jobs in media.

A photo by Corey Arnold that will be included in “Wish You Were Here,” a group postcard show that opens April 25 as part of Month of Photography Los Angeles.

On the global art and design calendar, April is dominated by Salone del Mobile, which gets underway–in a flourish of directional chairs and modularity–on Tuesday in Milan, but stateside, there’s a focus on photography. The AIPAD Photography Show is on through Sunday at NYC’s Park Avenue Armory, and over in Los Angeles, the photo-themed fun runs all April long as part of the Lucie Foundation-sponsored Month of Photography Los Angeles (MOPLA). Now in its fifth year, the citywide program is expected to draw nearly 15,000 attendees with the 2013 theme, “Wide Angle: Exploring New Photography from Los Angeles and Beyond,” and will go out with a bang on April 26-28 with Paris Photo Los Angeles, the inaugural U.S. edition of the famed Paris fair. Among the must-see MOPLA happenings is “Wish You Were Here,” a group show of 30 photographers from Los Angeles and beyond, curated by Stephanie Gonot. Admission is free but it’s bring your own stamps: the work will be presented on a series of postcards that can be purchased and mailed from the gallery space. The exhibition will be on view through April 30 at the MOPLA Pop-Up Gallery in downtown L.A.

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“This is one of the strangest items I’ve ever seen entered into a typography competition….It’s a beautiful book with a blue cover. The title of the book has a blank space for you to fill in. The only typography inside the entire book is some standard text in small print on the copyright page. That’s it. Instead, every page has a grid in light non-photo blue lines. Every few pages the grid changes to another pattern. This goes on for a hundred or more pages. What is going on here?

This is a book about the hidden structure of typography. The blue lines are collected from available empty notebook pages from all over the world–fully 47 different ruling styles, from traditional grade-school line-spacing to music staves and mathematical grid styles. These represent the underpinning structure of all writing and typography, a structure too often ignored today by fashionable high-flying digital designers (who can do literally anything–and constantly do). This little book is a comfortable reminder of the bedrock rules underlying all typography. It’s waiting for you to add the text along the guidelines required. It’s a essentially a typographic ‘Book of Rules.’ (Duh!)”

-Art Chantry on Rimini Berlin‘s Notebook, designed by Till Beckmann, Jenny Hasselbach, and Franziska Morlok. The book, published by Revolver, was Chantry’s Judge’s Choice pick for the 57th annual Type Director’s Club competition. Check out this year’s TDC winners in communication design and typeface design.

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