New York design fans were treated to a small reprieve from the heat wave last Friday at the closing party for Herman Miller’s Soho Pop-Up shop, with Metropolis Magazine and House Industries. To celebrate the finale, House Industries teamed up once again with The Awesome Dudes from Philly to offer guests tote bags screen-printed onsite with a variety of typographic designs.
Metropolis paid tribute to the relaunch of Alexander Girard’s textiles, and House Industries exhibited recent work from their projects for Eames, Girard and Herman Miller.
LCC‘s Graphics show is quite the marathon. It’s split into various sections which include Illustration, Graphic Design, Design for Advertising, Information Design, Typo/Graphics, Design for Print, plus Interaction and Moving Image. Here’s our pick of the exhibited work, starting with the Graphic Design work…
These illustrations by Sam Hamer have a touch of the Andy Rementer about them. Hamer’s book of Urban Plant Life also caught my eye:
Lora Bojinova‘s set of posters created for a fictional exhibition on Geometry in Nature at the Tate feature patterns formed the Fibonacci series.
Alexandra Whitfield also designed a set of three posters, but to advertise the science and music “lates” evenings held at the Science Museum on May 30. See more of Whitfield’s work here.
Moving up to the first floor, the Illustration work was the next thing to check out, with Louise Handyside’s Batter Land installation greeting me at the top of the stairs:
Above, some of Ben Brockbank‘s Janitor Man, Traveller Man illustrations.
Sholto Douglas displayed dozens of his Nightmare World postcards. See more of his work at sholtodouglas.co.uk.
Right next to Douglas’ postcards was this image by Ludovica Comucci which seemed to carry through the nightmare theme. More at cargocollective.com/ludovicacomucci. And carrying on the theme again was Jack Edwards hairy hand image from his series, Doodles of a Deluded Man:
I next found myself in the Design for Typo/Graphics section where Alex May Hughes’ multi-mirror installation inspired by H.G. Wells’ The Island of Dr Moreau caught my eye:
“The story itself mirrors changing Victorian society; ‘The Law’ which must be obeyed by the Best-men to give them structure and purpose,” explains Hughes. “Emulating the typographic style of Victorian glass and gold paintwork, the final works were based around key quotes from the book, creating an overwhelming wall of mirrors reflecting back on the viewer.” More at alexmayhughes.co.uk
Viet-Anh Cao’s 10 Bullets exhibit involved a computer (above) that was linked to this device:
““I wanted to reinterpret the video by Tom Saches ’10 Bullets, working to code’, following a systematic approach with the result in the form of a drawing machine.” I’m not sure how it worked, but the computer fed the machine instructions and it proceeded to “draw” the work. vietanhcao.co.uk
Caroline Claisse created this Wheelbarrow Chair which, she explains, “tells the story of Ferdinand Cheval who committed his life to build the Palais Idéal.”
In Graphic Media Design, Laura Shehata advertised her documentary Living In Disney’s World (which looks at a town called Celebration in Florida designed by Disney) by printing off large format stills (one shown above) from the film:
And finally, in Information Design, Yaser Hassan’s Modular 3 project looked great. For it he produced a series of typefaces created using only three shapes on different grids.
Jay Jung Hyun Yeo’s collaboration with Hwasoo Shim in response to a D&AD brief to rebrand the City of London won them a student pencil last week:
Also impressive in the Information Design section was Joshua Lee’s app entitled Europa, Jupiter’s Secret Ocean Moon. Play the above film to see it in action. Impressive. See more of Lee’s work at joshualee.sg.
As with all of our degree show posts, the work shown is just the tip of the iceberg. Do try and get along to the LCC show if you can to explore for yourself. The show runs until the end of this week (Friday July 6). Full details at lccgraphics2012.com
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.
Please note, CR is no longer stocked in WH Smith high street stores (although it can still be found in WH Smith travel branches at stations and airports). If you cannot find a copy of CR in your town, your independent newsagent can order it for you or you can search for your nearest stockist here. Alternatively, email Laura McQueen (laura.mcqueen@centaur.co.uk) or call her on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Working on the principle that if you can’t get the punters to your event, you could always bring the event to them, Kingston graphic design graduates are touring London this week in a van featuring work from their degree show
The van (which was loaned to the students by the KK Outlet gallery) will be parked in various locations in the capital from Monday to Thursday this week starting in the Covent Garden Piazza at Monday lunchtime: you can follow its movements on Twitter @takeshape2012.
The outside is covered in Velcro pads allowing different graphics to be fixed to the sides (including a message to CR editor Patrick Burgoyne, see top). Inside is moving image work from the final year show, which is titled Take Shape 2012.
The show will be at the Dray Walk Gallery, London E1, from July 5 to 9. The show website is here
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.
Please note, CR is no longer stocked in WH Smith high street stores (although it can still be found in WH Smith travel branches at stations and airports). If you cannot find a copy of CR in your town, your independent newsagent can order it for you or you can search for your nearest stockist here. Alternatively, email Laura McQueen (laura.mcqueen@centaur.co.uk) or call her on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Are you simultaneously comforted and excited by the sight of a bookshelf groaning with goldenrod-spined periodicals? Does your love of explorers and safaris transcend web browsers? Do you aspire to deploy your visual skills to inspire others to care about the planet? Then explore this: National Geographic is searching Earth for two production specialists to join its Washington, D.C. office, which we imagine as a rectangular golden structure teeming with exotic creatures (blind snakes, mutant penguins, Chris Johns). The full-time positions, one in design and one in graphics, will involve working with National Geographic Magazine. So bone up on your baby animal terminology and try not to flinch when they bring in the giant sea beast.
4D Typography is the result of the intersection in an orthogonal way in space of two extrusions of the same character, which allows the spectator to read it from two different positions in space at least.
An observer searching to enjoy a particular architecture is forced to move around and through it. The change in perspective generates new spaces in which light acts in different ways. In this case, it is the typography that makes the effort of abandoning its two dimensions to approach the architectural sense. It does not resign with a third dimension; a fourth one is necessary to complete the reading possibilities. By hanging the typography, the reader is allowed to surround the characters in order to understand all their shapes.
This idea started after Lo Siento carried out several identity projects regarding architecture. This was when the study decided to investigate and develop several volumetric languages starting from basic graphical concepts. One of these languages was 4D typography. It became a personal project from the studio and we decided to develop the whole alphabet. The creation of this alphabet and mistakes that were made during the creation process lead to new ideas for future projects.
Project name/title: 4D paper lettering Year of work produced: 2011 Work type: Typography / Alphabet Client: Losiento / self-initiated project Art direction/Design: Gerard Miró / Lo Siento Photography: Lo Siento Work description: Four dimensional alphabet lettering made with paper. Each piece can be read from all 4 sides.
Bath School of Art & Design’s final year graphic communication students created various fund-raising events to enable them to hire a decent venue for their degree show. Their efforts have paid off because their show, entitled Assembly and currently showing at the Rochelle School in Shoreditch, is well worth a visit…
There’s a huge amount of great work on show at Assembly but here are some highlights:
Tess Redburn illustration work included this laser cut cross section of a tree. Redburn then photographed the illustration to form the artwork for a submission to a Puffin design competition:
Redburn also exhibited a number of brightly coloured illustrations:
Ed Seymour showcased his work on a series of wall mounted clipboards. I particularly liked his rendering of this Marina Willer quote:
Tom Sydenham‘s Shit My Friends Post (SMFP) book is a collection of Facebook status posts by friends posted in January 2012, each rendered in a different style.
Above is Callum Robey‘s sampler for his brush and ink rendered typeface, Les Crobag (named after “a wonderful place, which is like a foreign Greggs”. Love the dingbats:
Upstairs, a number of group projects were showcased. Punk & Posters was a fundraising event which featured a host of live bands . A group of 20 students created posters to promote the event which were exhibited on the evening. They were all published as a newsprint publication sold to raise funds for the degree show:
And Sports Day too was another group show arranged by the year group on the course. Below are four of 16 posters created for the project. Each artist was allocated an Olympic event and a colour with which to produce their print design. Shown here are posters by (clockwise from top left) Caitlin Ashton, Will Harvey, Thomas Wells and Seb Ingham.
Another group project saw different students create posters for their lectures:
This post really only scratches the surface of a great degree show. Assembly runs until July 1 at Rochelle School, Arnold Circus, London E2 7ES.
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.
Please note, CR is no longer stocked in WH Smith high street stores (although it can still be found in WH Smith travel branches at stations and airports). If you cannot find a copy of CR in your town, your independent newsagent can order it for you or you can search for your nearest stockist here. Alternatively, email Laura McQueen (laura.mcqueen@centaur.co.uk) or call her on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Sandwiched between Queen Elizabeth’s Diamond Jubilee and the Olympics comes yet another reason to run amok in the streets of London: Mick and the gang are fifty. July 12 will mark five decades since a group of youngsters who called themselves The Rollin’ Stones played their first gig (at London’s Marquee), and the band tapped Shepard Fairey to create a logo to celebrate the big 5-0. The designer, a die-hard Stones fan who previously worked with Mick Jagger and Dave Stewart on SuperHeavy, says that he felt “overwhelmed” by the commission. “One of the first things I asked Mick was ‘don’t you think the tongue has to be included?.’ He responded ‘Yeah, I guess it ought to be.’ Case closed,” explains Fairey in a statement posted yesterday to his website. “I was very humbled and honored to be asked to work on the 50th anniversary logo, so my objective was to service and showcase the Stones’ legacy rather than try to make my contribution dominant.” Starting with John Pasche’s 1971 lips-and-tongue logo—”the most iconic, potent, and enduring logo in rock ‘n’ roll history,” according to Fairey—he played with ways to creatively and memorably integrate the number 50. Noted Fairey, “I think the solution speaks for itself in celebrating the Stones’ trademark icon and historical anniversary.”
Shepard Fairey has created a logo for the Rolling Stones’ 50th anniversary based on John Pasche’s 1971 original: but what’s going on with that type?
Pasche created the original lips logo while still a student at the RCA, for which he was paid the princely sum of £50. In 2008 Pasche sold the original artwork for the logo at auction to the V&A for $92,500. (for more, see our story here).
A slightly redrawn version of Pasche’s original logo was first used on the inner sleeve of Sticky Fingers (above).
Fairey had already worked with Jagger and Dave Stewart on the pair’s Superheavy project. “When Mick Jagger reached out to me about designing a logo to mark the Rolling Stones’ 50th anniversary I was quite overwhelmed,” Fairey says in a statement on his website. “One of the first things I asked Mick was ‘don’t you think the tongue HAS to be included?’. He responded ‘yeah I guess it ought to be’. Case closed. I was very humbled and honored to be asked to work on the 50th logo so my objective was to service and showcase the Stones’ legacy rather than try to make my contribution dominant.
“I worked on this project as a fan knowing that the Stones’ tongue was the focus and the starting point. With that in mind I set out to integrate the 50 in a creative and memorable way,” Fairey continues. “I think the solution speaks for itself in celebrating the Stones’ trademark icon and historical anniversary.”
Thoughts? It’s certainly respectful of the tongue but, typographically-speaking, it’s a bit of a car crash, with five different faces jostling for position, none of them sitting particlularly happily either with each other or on the curve on which they have been set. As a result, the power of the original logo, which remains one of the great pieces of visual communications, is diminished rather than enhanced.
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.
Please note, CR is no longer stocked in WH Smith high street stores (although it can still be found in WH Smith travel branches at stations and airports). If you cannot find a copy of CR in your town, your independent newsagent can order it for you or you can search for your nearest stockist here. Alternatively, email Laura McQueen (laura.mcqueen@centaur.co.uk) or call her on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Sunderland’s Degree Show this year proved an eclectic mix, with silversmithing, fashion, interior design and animation, to name but a few, all packed into one space. Livija Dale attended the opening night to snap us some pics of the best work.
Gordon Cable really stole the show on the Jewellery and Silversmithing front. Amazing use of creating typography with metal, then exploring a physical manifestation of the rabbit hole in Alice’s Adventures in Wonderland.
Charlotte Hirst’s pieces caught my eye with their vibrant colours and bold shapes, and become even more interesting once you realise they’re based on Pythagoras’ theorem and the Fibonacci sequence.
Petra Bartosova’s work is very conceptual; Mindspace is an experimental piece focusing on how thoughts can be perceived and created in a virtual space. She utilises dynamic typography and motion graphics to explore textural thoughts to great effect.
Jamie Sparkes’ Origami Tweet project creates a physical version of Twitter, where people write their tweets to friends and family, which are then folded into the shape of the signature Twitter bird. An interesting alternate look at social networking.
Teodora Nedyalkova’s work has a dream-like feel to it. In Sacred Geometry she explores geometric forms found throughout nature and in religion.
Neil McKenzie’s project Characterising Creativity saw him explore the meaning of creativity. His work also displays some nice branding projects for Crystal Glass catering.
Faye Robertson has a unique and intricate style, mixing bold and dull colours together to create a very old-world feel. It’s interesting to see her application of illustration to textiles, showing the different ways her style can be utilised.
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.
Please note, CR is no longer stocked in WH Smith high street stores (although it can still be found in WH Smith travel branches at stations and airports). If you cannot find a copy of CR in your town, your independent newsagent can order it for you or you can search for your nearest stockist here. Alternatively, email Laura McQueen (laura.mcqueen@centaur.co.uk) or call her on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
Stockholm-based designer Patrik Svensson has created a set of 20 illustrated signs for a branch of Jashanmal, a chain of bookshops in the United Arab Emirates…
“Each sign is 2 x 1 metres and is used to simply communicate to customers which genre of book or product type is situated in a particular area of the store,” explains Svensson who designs under the moniker Prince Hat.
The signs have just been installed in Jashanmal’s Mall of the Emirates branch in Dubai, which re-opened this week after a shop refit. The plan is to roll them out to the chain’s other shops across the United Arab Emirates. Here’s a selection – note the playful elements such as the rocket taking off in the Technology sign, below – or the zip made of aeroplanes on the Travel bag…
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print The July issue of Creative Review features a piece exploring the past and future of the dingbat. Plus a look at the potential of paper electronics and printed apps, how a new generation of documentary filmmakers is making use of the web, current logo trends, a review of MoMA New York’s group show on art and type, thoughts on how design may help save Greece and much more. Also, in Monograph this month we showcase a host of rejected design work put together by two Kingston students.
Please note, CR is no longer stocked in WH Smith high street stores (although it can still be found in WH Smith travel branches at stations and airports). If you cannot find a copy of CR in your town, your independent newsagent can order it for you or you can search for your nearest stockist here. Alternatively, email Laura McQueen (laura.mcqueen@centaur.co.uk) or call her on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
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Are you simultaneously comforted and excited by the sight of a bookshelf groaning with goldenrod-spined periodicals? Does your love of explorers and safaris transcend web browsers? Do you aspire to deploy your visual skills to inspire others to care about the planet? Then explore this: 
Sandwiched between Queen Elizabeth’s Diamond Jubilee and the Olympics comes yet another reason to run amok in the streets of London: Mick and the gang are fifty. July 12 will mark five decades since a group of youngsters who called themselves The Rollin’ Stones played their first gig (at London’s Marquee), and the band tapped Shepard Fairey to create a logo to celebrate the big 5-0. The designer, a die-hard Stones fan who previously worked with Mick Jagger and Dave Stewart on 
