Plumen lightbulb wins Design of the Year 2011

The Plumen low energy lightbulb, designed by Hulger and Sam Wilkinson, has won the 2011 Brit Insurance Design of the Year award…

Hulger and Wilkinson’s creation succeeds in bringing beautiful sculpted forms to the otherwise fairly humble low energy bulb. But it’s not just a pretty thing: the Plumen 001 apparently uses 80% less energy and lasts eight times longer than an incandescent bulb. As Deyan Sudjic, director of the Design Museum, put it: “It’s a bulb that doesn’t need a shade and so goes a long way to make up for the loss of the Edison original.”

The Plumen 001, along with the other shortlisted designs, is on show at the Brit Insurance Designs of the Year exhibition at the Design Museum until August 7 2011.

And here’s writer Will Self’s take on the winning work, included because, well, ‘judges comments’ simply don’t get much better than this: “I don’t think any of the judges feel this is the dernier cri in terms of what will be done with the low-energy light bulb, but if you’ll forgive the pun – they are definitely a light leading the way. 2011 was not a year to reward high-end design devised purely for conceptual reasons or added-value results. We felt these bulbs were neat, appealing and covetable in the right, affordable way. Light is, of course, primary to design, without it there can be very little, if any. The design of light sources is thus an elemental component of a design aesthetic.”

The Plumen is available to buy, here, and is £19.95 in the UK. More information at designmuseum.org and also plumen.com.

Don DeLillo covers by Noma Bar

Headphones? Gravestone? Musical note, or open door? Noma Bar brings his clever double take imagery to the latest editions of Don DeLillo’s work from Picador…

The new covers were art directed by It’s Nice That who approached Bar, represented by Dutch Uncle, to work with them on the project.

“It seemed obvious that the subtlety and craft in Noma’s work was the perfect vehicle to try and communicate DeLillo’s intricate and often sinister subjects,” they write on the Picador blog. “We had interviewed Noma for a previous issue of our publication and were waiting for the right project to work with him on, and the DeLillo re-issues could not have fit more perfectly.”

“My challenge was to create a range of ten books by Don DeLillo, a summary of more than 30 years of his writing,” Noma Bar explains. “After a long process that involved reading, researching and sketching, I started to pull out some of the main elements of each story and tried to understand how Don DeLillo tailored them together. The result is a bold image for each cover that looks conventional at first, but at second glimpse reveals the whole story.”

The new editions are out now. See picador.com.

Good old fashioned romance: not dead

You can almost hear him whispering it

Marking the 100th anniversary of International Women’s Day, new show The W Project features a wealth of work by female creatives including this marvellous series of restaged Mills & Boon covers by Alex Holder

Holder created the series of portraits of herself (and boyfriend Ross) in collaboration with photographer Oli Kellett, in homage to the steamy illustrations found on the covers of the classic romance publisher’s books.

“Sometimes we sit for hours staring at a sea shell,” she writes. “Other times he’ll hold me by the neck in front of the Pyramids. But there’s nothing we like more than NEARLY kissing each other near some horses. I always try to look hot in front of him so he doesn’t leave me.”

For I am the Master of the Marshlands and I give you, shells

Whaddaya mean an obsesssion? With the horses?

When she isn’t embroiled in acts of unbridled, slightly creepy, passion, Holder is an art director at Wieden + Kennedy. Her page on the W Project site is here and the show is open to the public until tomorrow (March 11) at the Russian Club Gallery in London. See thewproject.co.uk.

3D Art Book

A new book of eye-popping art from revered designer Tristan Eaton
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When Tristan Eaton isn’t designing toys or reworking brand identities as head of Thunder Dog Studios, he can be found collaborating with an array of today’s exciting artists. An incredibly talented designer in his own right—with works in the permanent collections of both the Cooper Hewitt Museum and MoMA—Eaton has been an advocate of street culture since his time at Kid Robot. In the forthcoming “3D Art Book” from Prestel, Eaton curates over 100 hundred eye-popping illustrations from a cast of influential graphic designers, painters and clothing brands.

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Eaton’s love for stereoscopic images emerged at age 19, when as an apprentice at Detroit’s famed screen-printing shop Highway Press, he began silk screening 3D posters. Less than a decade later through his breakthrough solo show, “3D Happy Action Fun,” Eaton introduced the aesthetic into the concrete art gallery world. His work was so strongly received that shortly after he began working on a 3D project with a small group of artists including The London Police, Superdeux and Jeff Soto.

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Eaton was inspired by reviving what was merely novel technology during the ’60s and seeing how it is reflected today, saying “When you compare the artists in this book, you will see that we share nostalgia for the good old days of alternative art and pop culture; when you contrast us, you will see how each of us outsiders have re-envisioned these references in our own unique ways.”

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Taking four years for completion, works featured in the 224-page book include those from revered artists like Bill McMullen, Cey Adams, Dr. Revolt, Pose, Tara McPherson and Ron English. “3D Art Book” will be released in April 2011 and will include two pairs of retro 3-D glasses. The book is available for pre-order from Amazon and Powells.


Claude Montana: Fashion Radical

A retrospective book sheds new light on one of fashion’s most pivotal ’80s designers
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Although regrettably most famous for bankrupting Lanvin (costing them a reported $50 million), a new book delves into why Claude Montana was one of the most sought-after fashion designers that defined the ’80s and continues to be an underlying force behind today’s styles. “Claude Montana: Fashion Radical,” co-authored with fashion journalist Marielle Cro, gives a retrospective look at the French designer’s aggressive tailoring, dramatic silhouettes and bold use of color.

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Montana was awarded two Golden Thimble Awards during his time at Lanvin, producing groundbreaking collections season after season. A consummate artist, Montana’s incredible sketches are sprinkled throughout the book and are complimented by equally compelling photos. The visual narrative shows how each ensemble was like an entire work of art, clearly conceived down to every detail.

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Beginning by defining the “Montana Woman,” which he sees as “a traveller, an adventuress in some faraway place,” the book includes a self-exploration of his work in an art-house critique, taking the reader into his mind and showing Montana’s articulate design language. Throughout the book his growth as a designer reveals itself in what amounts to an intimate portrait of not just the man, but the legacy of high fashion in one of the most fashion-obsessed decades of the 20th century.

“Claude Montana: Fashion Radical” is available through Amazon as a pre-order and releases nationwide 1 April 2010.


Walls, Diaries and Paintings

José Parlá on experience and emotions in his solo show and new book
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God is “a shout in the street.” So begins Greg Tate, channeling James Joyce, in “Walls, Diaries, and Paintings,” artist José Parlá’s new monograph of past and present work. It’s a conviction that has perhaps never rung more true as the particular modern art movement that Parlá helped define continues to take shape. First made famous by the likes of Jackson Pollock and Cy Twombly, the sentiment was further romanticized by the subway graffiti artists of the 1970s and ’80s and is now a gallery mainstay.

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Parlá, heavily influenced by Abstract Expressionism, with deep roots in writing (under the nom de plume Ease) as well as in hip hop and breakdancing, and possessing an acute awareness of the geography around him and the emotions connected to it, practically illustrates the evolution of graffiti himself.

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The Brooklyn-based artist’s work takes these moments of time in the streets and makes them current on canvas for a whole new generation to explore. First and foremost a storyteller, he tells CH, “[I] love recalling the many crazy, fun, dark, wonderful, extreme, violent, happy or sad times that have passed me by. For sure when I am painting I need to exorcise some of the happenings of my life into something more than just a memory.” The stories he tells, through a mixture of paint, marker, paper, aerosol, charcoal and found objects allows Parlá to make these experiences physical.

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With a new show at Bryce Wolkowitz Gallery and the companion monograph releasing this week, Parlá shows us the full circle of his work, with each painting a brand new landscape to explore. As usual, each work is full of transcriptions where the viewer is invited to read as their own stories and layered memories. In “The Struggle Continues,” seen below, Parlá explores the concept of an artist needing to protect themselves once they start selling works. “No art school really prepares artists for the type of language that exists in the business world,” he says. It’s an experience anyone can relate to in their own transition into the workforce.

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Another work addressing 9/11, “Victory” pays tribute to New York City. The painting is made up of posters collected from each of the five boroughs, and depicts the languages, cultures and stories that make up his city. And although his work takes inspiration from his travels from Tokyo to Istanbul to Havana, he admits that NYC is his favorite city in which to paint. “No other place in the world sounds quite like it, and this is part of what informs my personal rhythm for painting. I hope to translate the cacophony into a symphony.”

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Through these compositions, Parlá creates a sign of the times, but also much more. “I’m a writer using the medium of painting to translate my original roots through a semi-realistic, wall textured, calligraphic language rendered into abstraction,” he tells CH. It’s this constant evolution found in Parlá’s work that allows us as viewers to once again become excited and involved as active participants in modern art.

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“Walls, Diaries, and Paintings”
 will be on view at Bryce Wolkowitz Gallery from 3 March 2011 through 16 April 2011.

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Independently Animated

An interview with legendary illustrator Bill Plympton on his forthcoming book, friendship with Terry Gilliam and the future of adult animation in America

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At 13-years-old Bill Plympton wrote to Walt Disney asking for a job in the animation department. The young illustrator was initially rejected, but an Oscar nomination six years later for his animated short called “Your Face” led to Disney knocking on his door—where Plympton finally got his turn to say no. These were the early days of Plympton’s prolific career, which can be seen in its entirety in Rizzoli’s new book on the groundbreaking illustrator. “Independently Animated” is a 264-page retrospective tome that traces Plympton’s life and career as he paved his own Oregon trail from Portland to NYC in search of cinematic greatness.

Ignited by a foreword from close friend and Monty Python writer Terry Gilliam, the book—written by Plympton and David B. Levy—reads like a meandering journey into the mind of a slightly demented and always devious social agitator who wielded his colored pencils to entertain fans and influence artists around the world. Plympton surprisingly says his career as an artistic provocateur began accidentally, when a friend asked him to design a poster for his high school presidential campaign. “It was that moment when I realized the power of cartoons—they’re not just the territory of goofy animals and funny jokes. No! Cartoons can make people think differently; they can push people to the edge.”

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“Independently Animated” also sheds light on Plympton’s ties to the political world, which coincidentally began when he sold one of his comic strips to a small newspaper in Flint, MI, where an editor named Michael Moore was at the helm. His influence is undeniable in the realm of social satire. The compilation of photos throughout the book reveal a man who keeps his pencil on the pulse of political and artistic humor. His pointed sketches include one of Donald Rumsfeld, fresh off a trip to Iraq to meet Saddam Hussein, a sinister-looking Pat Robertson and an alien-esque Jesse Jackson. Throughout all of the twisted and inventive styles of sketches one thing remains, the ability to laugh at absolutely everything.

We recently had the chance to catch up with Plympton at his NYC studio, where told us more about his intriguing career and created an original sketch for Cool Hunting.

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Growing up you wanted to work for Disney. What was it like when you finally got to reject them?

Yeah I did want to work for Disney, that was my big goal in life, to work for Disney. What happened was around the mid-eighties when I got started with animation, that’s when the whole indie scene exploded. Jim Jarmusch, Spike Lee and Kevin Smith, people like that they were making films outside of the Hollywood sphere, and I thought well that’s an interesting concept. And so I got bitten by that bug also, and I thought ‘Who needs Disney?’ I don’t want to work for some corporate entity, I’d rather just have control of my own films, so that’s why I rejected Disney. Today if they offered me a good deal, I’d be more than happy to work with Disney, but it’s not a big philosophical point for me. If the work is good and interesting I’ll do it, but at this point I’m doing so well as an independent and I am making a living as an independent so why change?

What is the difference between how your work is perceived in America compared places like Japan or France, where adult animation is more mainstream?

One of the things that bugs me is that Quentin Tarantino can make these films that are basically cartoons, and they’re wildly popular. But when I do adult topics in animation they say ‘You can’t do that, that’s Disney’s art form. You are taking animation and ruining it, you’re sullying the wonderful, beautiful reputation of animation.’ People in America just can’t get it into their heads that animation is not strictly a childrens medium. That’s why I want to try and break that stupid barrier. Japan, France, particularly Germany, Spain—they accept adult ideas much more easily than they do here in the States. That’s the problem I have with distributors here—they don’t know what the audience for the film is, or who is going to go see an animated film with adult ideas. So there is this sort of mind-freeze that these distributors have, and I disagree because I think there is a huge audience for them. Just look at the sales for graphic novels.

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Was there ever a time when you longed for mainstream success even though you were working off the grid?

I think about that all the time. I look at a Pixar or a Blue Sky Film, or see their billboards all over the city, and they’re opening in 4,000 cinemas nationwide and 10,000 around the world. I wish I could get that, it would be wonderful. But they have to pay a price for that—there’s a certain deal with the devil that they make to do those. And the devils are usually the corporate studios, and they have to change everything to meet the desires of marketing teams. So it’s not really their film, it’s someone else’s. I sure would like to make a film that played in 1,000 cinemas though, that would be so wonderful.

How would you describe you’re relationship with Terry Gilliam?

I first met him about fifteen years ago, at the party for “12 Monkeys.” I introduced myself, and he knew who I was he had seen my films. The next time I saw him was in Dubai, there was a festival there and he was the judge, or getting a prize. I introduced myself again, and he said “Oh Bill, how you doing?’ I happened to have my portfolio of drawings from “Idiots and Angels” and so he said ‘Let me look at them.’ And he just went nuts, he was getting into the detail, and how I drew these drawings, and his press agent was there and said ‘Terry we have an interview with the BBC, we gotta get going,’ and he responded, ‘Oh fuck BBC, I want to look at these drawings.’ So he really got involved in the art, asked what he could do to help me with the film. I said ‘Would you mind being the presenter of this film, no money, no commitment?’ He’s been really nice, he wrote the forward to the book, and he’s doing the introduction to a documentary they’re doing about me. He’s been extremely supportive, he’s just the nicest guy.

An imaginative retrospective, “Independently Animated: Bill Plympton: The Life and Art of the King of Indie Animation” will be available March 2011, but can be pre-ordered now from Amazon and Powells. To see some of Plympton’s entertaining animated shorts, visit the gallery at his website.

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What does Nineteen Eighty-Four look like?

US and UK editions of Nineteen Eighty-Four (mid-1950s)

BBC4 screened an interesting film on book cover design last night, featuring contributions from designers John McConnell, David Pearson and David Pelham, who recalled the fascinating story behind his cover for A Clockwork Orange…

As part of the BBC’s season of programmes about the written word, Paperback Writer: The Beauty of Books looked at how the role of the cover has changed from functioning primarily as a protective shell, to becoming a complex marketing tool that aims to, as McConnell says, “distill [the book] down into a visual signal.” If you’re in the UK, you can view the programme on the iPlayer, here.

The film centres on the design of the 15 Penguin covers of George Orwell’s Nineteen Eighty-Four, interestingly bringing together two US and British editions from the mid-1950s for comparison (above).

In the US, Orwell’s book was initially sold as a tale of “forbidden love… fear… [and] betrayal” and sported a Rock Hudson type figure as Orwell’s protagonist, Winston Smith – while the aesthetic of the three-banded Penguin edition remained steeped in the austerity of post-war Britain.

David Pelham with his 1972 cover of A Clockwork Orange

The story of David Pelham’s cover for Anthony Burgess’ A Clockwork Orange is also explored in detail. With Stanley Kubrick’s film version imminent the director refused to grant Penguin the use of any stills for a book cover, so Pelham (having just been let down by a colleague) had to come up with something overnight in his flat.

Having seen the film, he used its visual language (there are no mentions of bowler hats in the book, for example) but focused on the eye of main character Alex.

At once an intoxicated, dilated pupil and a cog in the machine; the stark graphic device also alluded to Alex’s punishment at the end of the book. When Kubrick’s film was banned, it was Pelham’s cover that initially became the visual identifier for Burgess’ work.

The author, however, didn’t like it and defaced his own copy, penning the rest of Alex’s face in himself. But then Pelham, too, remains equally as unimpressed with his own work. “I don’t like the image,” he reveals. “I really don’t but it has become iconographic. I don’t like it because it was primarily done overnight, with very little thought, really. It was an emergency: a graphic design emergency because we had to a have a cover, because we’d miss the hit of the movie.”

The Beauty of Books is available to view here on the BBC iPlayer (in the UK only).

In 2005, we also ran a transcript of a lecture David Pelham gave on Penguin’s 70th anniversary, which you can read, here. The text is taken from Penguin by Designers, published by the Penguin Collectors’ Society (£15); available from penguincollectorssociety.org.

The 1962 cover for Nineteen Eighty-Four

Jon Gray’s most recent cover for Orwell’s novel

Sculpture Books

Des sculptures originales à partir de simples livres par l’artiste Brian Dettmer, vivant actuellement à Atlanta. Des transformations sur livres imprimés tels que des ouvrages d’anatomies, des dictionnaires ou des manuels, créant des formes très impressionnantes.



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Plus d’images dans la galerie – Portfolio Brian Dettmer

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Friday Photo: Paris Is a Woman’s Town


(Photo: New York Public Library)

WWD has confirmed our exclusive report of Chanel’s imminent pop-up shop partnership with Paris boutique Colette. The temporary store, opening Tuesday in a former garage on Rue Saint Honoré, will stock items ranging from gritty (graffiti-covered handbags, scooter helmets) to glam (spring looks from Chanel, Eres maillots) as well as a few extraspecial offerings, including nimble-fingered Lemarié craftspeople demonstrating how to create a camellia (house artisans supply Chanel with approximately 20,000 of the blooms each year). Book that Air France flight tout suite, because the shop is only open for ten days. All of which brings us to our Friday Photo: the dust jacket for Paris Is a Woman’s Town, a 1929 lady’s guide to the City of Light written by Helen Josephy and Mary Margaret McBride, described on the inside flap as “well-known newspaper women.” The worldly pair, who may or not have resembled the rather stout figures depicted on their book’s cover, dispense plenty of advice for the Paris-bound, as “the average woman on her first trip is abashed and even frightened by the unfamiliar language and scenes about her.” Lesson one: watch out for that evil-looking guy with the cane!

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