Amoureux du graphisme minimaliste et intéressé par les sciences dans toutes ses formes, l’indien Kapil Bhagat a imaginé cette série de posters « Scientists » jouant sur les plus grands noms de la science et leurs découvertes associées. Plus de détails et d’images dans la suite de l’article.
Les équipes du studio belge Coming Soon ont imaginé cette création magnifique à la craie de 7 mètres sur 3 pour l’annonceur Modus. Avec un direction artistique signée Jim Van Raemdonck, cette fresque typographique est à découvrir en images et en vidéo dans la suite de l’article.
Focus pour le nouveau projet « Word Animals » par le graphiste et designer australien Dan Fleming. Un rendu original et un impressionnant travail typographique autour d’une large palette de couleurs et de noms d’animaux. Découvrez ces silhouettes et sa série en images sur son site dédié et dans la suite de l’article.
An e-book issued by the Vatican to commemorate the papacy of Benedict XVI (who Barry Blitt has depicted relaxing on a hammock on the cover of this week’s New Yorker) reminds readers that the “the Pope’s ministry is a guarantee of obedience to Christ and to his Word,” even if that Word is set in…Comic Sans. That’s right, design fans, the 265th pope is going out not with a bang but a typographic whimper. Benedictus XVI, which now greets all visitors to the parchment-look homepage of the Vatican as it muddles through the virtual side of Seda Vacante, is a collection of 60 photos of the pope on the job–palling around with John Paul II in the pre-Twitter era, consulting scripture, kissing babies, walking along bucolic lanes, and brandishing a variety of weighty golden objects–all annotated in godless Comic Sans. Adding to the typographic heresy is the prominent digital watermark of the Vatican newspaper, L’Osservatore Romano, that appears on most of the photos: it is set in Papyrus.
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Graphic designer David Pearson has censored the cover of George Orwell’s classic novel 1984 as part of his series of redesigned books for publisher Penguin.
Referencing the novel’s themes of totalitarianism and censorship, David Pearson debossed the title and author and covered them with black foiling.
Penguin’s Great Orwell series also includes Down and Out in Paris and London, whose cover by Pearson frames a Vorticist-style screenprint of the two cities by Paul Catherall.
Homage to Catalonia, an account of Orwell’s experiences during the Spanish Civil War, features a repeated cubist line drawing of a soldier.
Animal Farm’s cover is dominated by bold, cartoonish lettering in the style of an old movie poster, while Politics and the English Language uses a new font, Caslon Great Primer Rounded, which is inspired by a typeface created by Caslon & Catherwood in 1821.
We recently featured a font based on an impossible triangle and an alphabet of sculptural letters that can be read from four sides – see all fonts on Dezeen.
Other graphic design we’ve published lately includes stripy album artwork by British designer Peter Saville and a collection of recognisable products with their brand names removed – see all graphics on Dezeen.
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by David Pearson appeared first on Dezeen.
Coup de cœur pour le talent et le travail de Nina Harcus : une artiste de 21 ans encore en études et qui a réalisé de superbes visuels en utilisant l’univers culinaire pour un livre de recettes. Un travail typographique excellent pour un rendu appelé « Type Delight » à découvrir dans la suite de l’article.
La luxueuse enseigne Aizone présente au Proche Orient a demandé au studio Stefan Sagmeister et à Jessica Walsh de diriger la création d’une série de photographies magnifiques utilisant la typographie sur corps pour magnifier les modèles. Plus d’images de cette série « Aizone Typography » dans la suite de l’article.
Dutch graphic designer Jacques Le Bailly has designed a typeface of impossible shapes inspired by the optical trickery of artist M.C. Escher (+ slideshow).
Jacques Le Bailly’s Macula font is based on the Penrose triangle, a shape that appears to have depth but would be impossible to reproduce in three dimensions.
Like the Penrose triangle and the mathematically inspired paintings of M.C. Escher, the typeface’s three-dimensional appearance could only exist as a flat image.
“To keep the typeface lively every single character, down to the punctuation and floating accents, needed to have two versions, as if looked at from two different viewpoints,” says Le Bailly.
“Often the simple letters were the most difficult, because they offered very few possibilities or starting points,” he added.
Some of the letters are less complex in order to create a more cohesive and attractive typeface, while the ampersand and the @ symbol have been given extra detailing to make them stand out.
The name macula refers to the part of the the eye that’s responsible for central vision, and was chosen by the designer because he suffers from a related defect in his right eye.
We’ve previously featured a font designed for the Royal College of Art by Neville Brody and Margaret Calvert and a font developed by Nokia to work in any language – see all font designs on Dezeen.
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Jacques Le Bailly appeared first on Dezeen.
Focus sur ce superbe menu imaginé par Tyrsa pour le restaurant parisien Barbershop. L’artiste, dont nous avons pu consacrer une interview pour Fubiz TV 11, a voulu rendre hommage à Herb Lubalin et le mur qu’il a crée dans la cantine de CBS en 1966 avec cette illustration de 82cm de long travaillée au Micron.
Focus sur Sean McCabe, un graphiste américain qui voue une passion pour la réalisation de typographies réalisées à la main. Avec des créations très réussies basées sur diverses citations, cet artiste vivant à San Antonio nous propose de découvrir son talent avec une série d’images à découvrir dans la suite.
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