If you like football, you will be glad to know that Parallel studio, from London, has designed a beautiful Litho-print A1 poster with the schedule of the Euro 2016 Tournament. Each poster is printed on 170gsm magno gloss paper, in the colors of france, the host country: red, blue and white. Only 100 available for 20 pounds each, get yours while it lasts.
Designer and illustrator Richard Vickers launches Goods Carrier, a new range of limited edition prints inspired by Indian truck art. Most people return from India inspired by the spirituality, landscape or food – but for London-based graphic designer/illustrator Richard Vickers it was the ornate decoration of Indian trucks which caught his attention. Driving across a country the size of India can be a lonely job, so drivers of Indian goods carriers understandably like to make their vehicles feel more homely. As you pass trucks adorned with fresh hanging flowers, psychedelic patterns and hand-painted gods, driving along an Indian highway can be more akin to visiting an art gallery. Vickers was inspired to create a range of colourful designs based on Indian truck art on his return to the UK. His first release in the Goods Carrier range is “Horn OK Please” – now available online at goodscarrier.co.uk as a limited-edition print.
In a land where using rear-view mirrors or even road lanes can be rare, the drivers of goods carriers send warning messages to other road users in the form of eye-catching painted signs on their trucks. “Horn OK Please was a message I saw a lot on the roads of India,” says Vickers. “It basically means – if you’re coming past, you’d better let me know!” Prints are available now at goodscarrier.co.uk
These past four years, we approached the jazz theme through humanized illustrations of musicians. It seemed important to seduce the audience through short stories or adventures of human characters.We wanted something different for the 2012 edition of Guimarães Jazz. Music is visually abstract and, in our perspective, Jazz is the most visual of the music genres. Having this will and rationalization in mind, we developed a graphic solution based on geometrical abstraction of musical instruments, where circles become drums or saxophones, and stripes in piano keys…
We also tried to get the vintage look of the golden years of Jazz, with the intention of maintaining the warmth and personality that the years lend the communication.
Visual identity and communication campain of Nuits Sonores festival’s 9th edition.
Electronic and indie music festival, Lyon-France
Some wonderful work from Superscript², an independent Lyon based graphic design studio founded in 2006 by Pierre Delmas Bouly & Patrick Lallemand, in France.
The studio Superscript² invests different medias of expression from graphic design such as publishing (book, catalog, magazine, monograph, poster …) typography (original font design) and digital media (website, digital installation…) Superscript² works for a wide range of clients across various sectors, from cultural institutions to established companies and offers them practical design solutions where content and form are closely linked.
Since 2006, Superscript² has developed and produced Ink Magazine, a publication dedicated to the typographic item.
It aims to be a space to share, confront, exchange ideas and practices with the aim to offer multifaceted approaches of graphic design.
Both visual and theoretical.
On Paul Rand site:
There are essentially two kinds of typography: The familiar kind for reading, and the other, simply for viewing, like a painting. Some say that readability is most important. There are really two important things about typography: readability and beauty; both are equally important. However, many readable typefaces are visually offensive. The design of a typeface, ugly or not, is only one aspect of the problem of readability. How a typeface is used is equally, if not more, important.
I discovered this interview via Dave from grain edit, who send me an email with links to rare type specimens/design books that he publishes on his blog. Here are some samples:
This post may be a little outdated, but I haven´t seen this page before, so I´m gonna post it, because perhaps some of you haven´t seen it also, and i think the quality is well worth it.
Here are the best 100 posters from 2006, according to [please insert name here, I don´t know german].
Here is also the link to the homepages of the winners, where you can further explore each individual participant.
“Type is speech on paper.
Typeradio is speech on type.”
Unfortunatelly i don´t have the time to hear it as often as I wanted…but today I heard the John D. Berry session, and I advise you to do the same.
(Don´t miss the nice jingle at the beggining 🙂
I specially liked the “confrontation” with David Carson‘s work, which I also appreciate very much. ( You can hear David Carson’s episodes also on typeradio)
It´s divided in three parts:
John always starts with questions, everything he does in his life he has come to sideways, he is interested in both words and visuals and does not make a distinction between the two. What good is it to be a designer if you don’t read?
John talks about collecting and accumulating, and how he organises his collections. If you are a collector of obscure literary magazines of the pacific north west from the late seventies and early eighties this could be your chance to increase your collection. John talks about being the editor of U&LC, and how content and design worked together perfectly.
John explains how he got involved with U&lc. What he hates about typography and what not to do. What he finds important when designing a magazine. His views on Massimo Vignelli and David Carson. Why not to use Helvetica numerals. What he considers most powerful the written or spoken word.
And who is John D. Berry? Let´s go to the facts:
John D. Berry is an editor/typographer who works both sides of the design/content divide. He is the former editor and publisher of U&lc (Upper and lower case) and of U&lc Online, and he edited the book Language Culture Type, on international type design, published for ATypI by Graphis. He has a deep and eclectic background in both writing/editing and typography; he has made a career for more than twenty-five years in Seattle, New York, and San Francisco as an editor and book designer. He writes and consults extensively on typography, and he has won numerous awards for his book designs.
He writes a regular column about type and design, dot-font, for Creativepro.com.
He lives in Seattle with the writer Eileen Gunn.
He never drew a typeface, but “maybe he will surprise himself someday”.
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For over three decades Paula Scher has been at the forefront of graphic design. Iconic, smart and unabashedly populist, her images have entered into the American vernacular. Scher has been a principal in the New York office of the distinguished international design consultancy Pentagram since 1991.
Here is her notebook from Detour exhibition.
Also don´t miss her recent interview at Monocle.
The national identity of countries can shift radically and at a speed that leaves their inhabitants gasping. As the United States continues to suffer from low approval ratings all over the world, Paula Scher, one of the world’s leading graphic designers and a principal at Pentagram in New York, talks to Monocle editor-in-chief Tyler Brûlé about how the US needs to overhaul its image, brand promise, name and messaging.
JG Ballard covers by timeline.