Romain Goetz : email@example.com
Adeline & Martin est un studio de design graphique fondé par Adeline et Martin . Basé 50% dans l'Est de la France et tout autant en région parisienne. Il est pourvu d'une adresse mail, d'une page FaceBook et d'un joli Instagram .
Alexis Mark is an office for research and graphic design in Copenhagen, Denmark. We are engaged with activities ranging from commissioned graphic design assignments, through self-organised autonomous projects, to design-education, exhibition-making and curating. Through cross-disciplinary collaborations we make publications, exhibitions, websites, identities, typefaces and more, primarily within the fields of art and culture. All driven by a particular interest in the concepts of language and mediation as an artistic practice and in an interdisciplinary context.
Methodically, we seek a contextual engagement with the materials and conditions of the collaborations we are involved in and find it integral to our practice to extend these conditions into the work we produce. We embrace complexity as a value and seek to display and exploit diversity, rather than to reduce it by forcing simplicity. In this way we aim to create new "linguistic systems" born from our research and criticality in exchange with all included parties.
Through this methodological approach we work both independently as an autonomous entity and engage with external commissions. In that sense Alexis Mark is a service provider both to itself and others.
Les Éditions Extensibles, dirigées par Sébastien Souchon et Adrien van Melle, ont pour objet de recherche la transversalité entre art contemporain et littérature. Support fédérant des artistes-écrivains, cette maison d’édition est en elle-même un projet artistique. Au fil des collections, la maison d’éditions contribue à une valorisation de l’écriture, du récit et de la fiction dans l’art contemporain.
Sébastien Souchon et Adrien van Melle se rencontrent en 2014 aux Beaux-Arts de Paris. Ils fondent les éditions extensibles en 2015 et travaillent depuis à rassembler des artistes écrivains pour donner un écho à leurs propres pratiques inscrites dans cet espace peu définissable qui conjugue l’art contemporain à la littérature
Former Manhattan agency directors turned Brooklyn hands-on designers Anton and Irene joined us at Awwwards Conference Berlin to talk about their project with Ikea One Shared House 2030 and making research playful. Here they discuss the difference between design in the U.S and Europe, if the role of the designer has changed, when NOT to experiment, and moving towards designing "off screen" projects.
Clients are afraid to experiment because if the drop-off rate is 2% that could mean millions of dollars lost so that's not in their interest, other clients don't care about that, you always have to understand as a designer, what is the goal of the client.
Studio Fables est un studio indépendant de design graphique et numérique fondé à Paris par Majan Dutertre, Paul Schaedelin et Laurent Tacco. Nous œuvrons avec passion à la conception d'identités visuelles, d'objets imprimés, de sites internet, d'animations et d'installations interactives.
Nous abordons chaque projet comme une nouvelle histoire à raconter, avec la volonté de concevoir des visuels pertinents et des expériences singulières.
De la réflexion à la réalisation, nous travaillons en étroite collaboration avec tous nos commanditaires, qu'ils proviennent du secteur commercial, institutionnel ou culturel.
In March 2014 I was contacted by two students of the University of Tehran, Maryam Khaleghi Yazdi and Ramin Pahlavan Hoseini. They were working on their MA thesis under the supervision of Dr. Sedaghat Jabbari. With the working title ‘A Research on Diverse Methods of Designing Farsi/ Arabic typefaces’ Maryam and Ramin wanted to explore current practice and ask professional designers for their perspectives. Against this background, they approached me with questions about my work and more general views on the subject, and over the course of the following months a kind of email-interview emerged. The questions by Maryam and Ramin where interesting and thought-provoking, and I thought might be of interest for others too (eventually the two students did not complete their project together, but Ramin finished it on his own while Maryam submitted a different thesis). With their agreement, I publish the interview here, edited only for consistency of format and small typos.
OCTOBER 13, 2015
I’ve put this list together for my various students. It’s an introductory collection of a range of different materials on various subjects. It’s loosely structured into three categories, though obviously there is some overlap.
- Approaches to type and extended context
- Making and using type
- World scripts
La Biennale Contour 8, dont la commissaire est Natasha Ginwala, considère une scénographie incertaine dans laquelle nous sommes incités à arranger des rencontres en tant qu'acteurs, agents et dissidents. Avec en toile de fond le rôle historique de Malines comme bastion de la justice pour l'Europe médiévale, l'approche conceptuelle met en œuvre un passé juridique de plus de 400 ans, depuis l'instauration du Grand Conseil qui a tenté en premier d'établir une étendue territoriale régie par une jurisprudence rationnelle, constituée par les Pays-Bas, la France et l'Allemagne. Que peut apporter l'examen de la justice sociale et de ses instruments depuis les vestiges du premier tribunal d'Europe, par le biais d'une archéologie médiatique dans laquelle la justice elle-même est considérée comme un « média » qui est a la fois une opération performative, éthique et esthétique ?
C’est au début d’un mois de septembre que nous nous sommes retrouvés à l’abri d’une cathédrale de béton et de métal. Peu de temps aprés notre arrivée les dalles se sont mises à vibrer. De l’agitation du sol se sont levées des volutes poussiéreuses où flottaient de la poudre de plomb et quelques éclats d’encre. Ensemble on a tournoyé. Au petit matin, comme une évidence, nous avons décider que le cylindre de béton serait notre fief, et qu’à l’intérieur on y ferait bien ce que l’on voudrait. Alors, jours et nuits la cardiaque rythmée des presses Heidelberg a répondu aux vrombissements qui grossissaient au creux de notre nouveau brise-lames : Le SILO était né.
Et puis, la troupe a grandie et les amis sont venus apporter leurs scintillements aux sonorités primordiales. Un imaginaire commun, au fil du temps, voit le jour. Certains descendent au creux du sombre et partent à la recherche de fragments lumineux tandis que d’autres se rêvent en héros et décrochent avec panache les emblèmes du pouvoir. Lorsque nous côtoyons l’urbain il est question de trouver des ouvertures, de se glisser dans les failles, de faire résonner les caves oubliées. Le jour on opère avec discrétion en élaborant quelques stratégies qui visent à décaler le réel en l’infiltrant, la nuit, nous faisons briller des lucioles et mugir des mécaniques trop souvent tues. Au sein du groupe c’est l’amitié qui prime. Une vision commune pressentie plus qu’énoncée. Une troupe soudée bien qu’éparse qui avance de concert, patiemment, à mi chemin entre le rêve et le réel, au dessus, en deçà, et au même niveau que la rue.
Les activités de SILO s’orientent autour de deux pôles :
• Un label de musique dont la pratique est contextuelle
• Une maison d’édition qui allie livres d’artistes,
expérimentations des techniques d’impression
et publications web.
Temporary Gallery was founded in 2008 as a non-profit art association (Kunstverein). Since 2014, it receives institutional funding by the City of Cologne as "Centre for contemporary art". Its programme includes solo and thematical group exhibitions of contemporary, often international artists questioning the relationship between art and its presence. Parallel, it offers art and film theoretical events as well as cooperations with universities, academies and guest curators.
We had the pleasure to completely redesign the «20 Minuten», the most widely read newspaper in Switzerland, as part of a campaign for Samsung. In collaboration with the agency «Jung von Matt» we designed a newspaper that was – for once – intended more to be looked at, than read. An unbelievable feat. In a first step, we redesigned the entire layout with all its nuances, such as the visuals of the horoscopes, the logos of the television stations, a tragically-odd comic, or an emotional weather map. What’s usually developed in months of hard labor had to happen within a few weeks. Nonetheless, we decided not to leave it as a redesign. On a second layer, each page was confronted with a colourful interpretation of its content. This way, not only the design edition itself became unique, but every single page within.
For the identity of Typojanchi 2017, a typographic Biennale, Ordinary People created a legend around a mythical creature called Mohm, featuring GT Haptik.“God has cursed Mohm so it can't touch the letters. And it constantly crankles trying to reach the letters.”
The 2012 visual rebranding of Amsterdam’s Stedelijk Museum was designed by Mevis & Van Deursen, and includes a website, publications, newsletter, stationery, and posters. The S-shaped logo is based on Union, a typeface designed in 2009 by Czech-born Radim Peško:
Union derives from the two most commonly used typefaces on PC and Mac platforms: Arial and Helvetica. Essentially, Union is a synthesis of these typefaces; its contours have been adjusted to retain the flexibility characteristic of both fonts. Union is intended for situations where Helvetica seems too sophisticated and Arial too vulgar, or vice versa.
The museum’s unique relationship with graphic design dates back to Wim Crouwel 1964 ‘SM’ logo and Experimental Jetset’s 2004 ‘SMCS’ temporary logotype and sign system. Expectations for this redesign were high after a previous identity proposal (the outcome of an international competition) by French designer Pierre di Sciullo had been ditched by the newly arrived Stedelijk director, Ann Goldstein.
Andreas Kofler – 27/06/2016
Manor Grunewald considers himself first and foremost as a painter, although he is also active in the fields of sculpture, installation and prints. His work is characterised by the constant analysis of the development of the pictorial in our daily environment. He finds and collects the sources of his images everywhere in daily life: in newspapers, advertising, books, etc. In his recent works, his painting is concerned with the optics, visual conformity, imperfection and arbitrariness of the phenomenon of the black-and-white copy.
Ce site a pour vocation de présenter une collection privée de boîtes d'allumettes S.E.I.T.A. Il est conçu afin de faciliter la recherche pour toute personne intéressée par la boîte ou son image. Ainsi, il présente des entrées de classification adaptées à la recherche graphique ou philuménique.
À l'inverse des sites présentants
des masses de visuels d'étiquettes, ici, la navigation s'effectue par dé-zoom et vient alors mettre en lumière les spécificités propres à chaque boîtes.
Studio for design and code based in Lugano, Switzerland.
Specialized in procedural graphic design for screen and print; conceptualization, prototyping and implementation of interactive installations for stages, events and exhibitions.
Surveillance Index Edition One is a collection of one hundred books related to surveillance photography.
Books are indexed by Year, Title, Photographer, Description, Size, and Code.
Bráulio Amado is a Graphic Designer and Illustrator from Portugal, currently living in New York City. He worked as a Designer at Pentagram NYC. Then joined Bloomberg Businessweek as an Art Director. Moved to Wieden+Kennedy. Now this.
Élève d'Eugène Vallin et de Victor Prouvé, Paul Colin s'affirme après la Première Guerre mondiale comme le chef de l'école moderne de l'affiche lithographiée (ou passant par de nouvelles techniques de reproduction faisant appel à l'héliogravure et la sérigraphie). Il est l'auteur de plus de 1 400 affiches, de décors de théâtre et de costumes.
Révélé en 1925 par son affiche pour la Revue nègre, qui contribue à lancer la carrière de Joséphine Baker, il travaille pendant près de quarante ans pour les arts de la scène et le monde du spectacle.
Son style, au début très marqué à la fois par l'Art déco et la Nouvelle Objectivité, devient rapidement très personnel et difficile à faire entrer dans une simple catégorie : la justesse synthétique de ses portraits, la force d'évocation de ses affiches pour les grandes causes en font un maître de la communication visuelle dont l'œuvre reste aujourd'hui exemplaire et très actuelle.
Poetic Computation: Reader is an online-book by Taeyoon Choi that discusses code as a form of poetry and aesthetic while raising ethical questions associated with it. The book is based on Choi’s lectures at the School for Poetic Computation, an independent school he co-founded in New York City. The first two chapters will be published in September 2017, with the following chapters to be published over the year.
Designed by HAWRAF, Poetic Computation: Reader presents new possibilities for enhanced accessibility and legibility in web browsers. Readers can change the design elements and format parameters to create their ideal reading experience. Poetic Computation: Reader is edited by Hannah Son and includes interviews with a select group of scholars and practitioners.
Poetic Computation: Reader is a free educational product with its code published open source in the project repository. The project was initially supported by Taeyoon Choi's Artist in Residence at NEW INC. For updates on the monthly chapter releases, please sign up to Taeyoon Choi's mailing list. For press release and visual assets, please check out this link.
Taeyoon Choi and collaborators do not hold the copyright to images contained in this book except for the original images created by Choi. If there's a concern about the use of any image or citation, please contact firstname.lastname@example.org
While Marc Nagtzaam’s drawings are far from devoid of any sense of discovery, they are extremely programatic, composed of tight, deliberate gestures. Filling in all the negative fields in his drawings with graphite himself, if his mode of drawing conforms in any way to what one normally expects of the practice of drawing, it is largely in terms of time. For all their seductive systematic severity, they abundantly testify to a human presence, paradoxically conveying that despite the artist’s methodically engineered absence, he was nevertheless there.
For this exhibition Nagtzaam will show various series of work: several wall drawings depicting previously made, or yet to be realized, designs for works on paper. Next to a large selection of sketches and prints, containing the fragments he uses to construct the grid like patterns of his drawings.
Marc Nagtzaam (b. 1968) is an artist who works mainly with drawing, text, artist books and occasionally sculpture. His work has been the subject of major group and solo exhibitions such as Artist Documents, National Museum of Modern and Contemporary Art, Seoul (2016), The Bottom Line, S.M.A.K., Ghent (2015), Minimal Myth at Museum Boijmans van Beuningen, Rotterdam (2012), Autumn of Modernism at De Vleeshal, Middelburg (2012), and The Unknown Group at Frac Bourgogne, Dijon (2010). Recent solo exhibitions include: A Drawing Placed Between Two Objects (with a contribution by Mark Manders), ProjecteSD, Barcelona (2016), Eight Pieces for Eight Corners, Objectif Exhibitions , Antwerp (2015), Not Available, De Kabinetten van de Vleeshal, Middelburg (2014). Other institutions that have shown his work include MACBA, Barcelona (ES), Stedelijk Museum, Amsterdam (NL), and MuZee, Ostend (B). In 1998 together with Roger Willems Nagtzaam published the very first book from Roma Publications, entitled SOME. Nagtzaam has been producing publications with Roma on a regular basis ever since.
Get yourself a network, baby! Nope, this is not about throwing your letterpress business cards into everybody’s faces. Even though they come with edge coloring and 460-gram cotton paper.
Instead, I write about my experience of outsourcing work in my production process, and why that takes your freelance work to another level.
1. Designers think and learn in networks — why shouldn’t they work in one?
2. Networks help you to increase the quality of the product you’re delivering.
3. Networks help you to become a more versatile designer.
4. Clients will value your network’s services.
5. As a networker, you learn to share and negotiate.
6. Great! Why haven’t I started already?
Identité du festival d'art contemporain de Montvalent - Par Atelier Choque le Goff — source
We’re making a book.
The margins are important.
Do you know how important?
The page is a piece of paper. It is also a visible and tangible proportion, silently sounding the thoroughbass of the book. On it lies the textblock, which must answer to the page. The two together — page and textblock — produce an antiphonal geometry. That geometry alone can bond the reader to the book.
On the making “Koya Bound”: A book of photographs from the Kumano Kodo pilgrimage walk in Japan.
When making a book, I find it’s useful to walk on the book. To peek over it and look for patterns, shuffle pages, grouping and ungrouping the loose sheets. Walls work too — a book can be made on a wall. But floors are easier. And there’s something joyful about the tip-toe dance you do across a room when it is filled by a book.
We talk to Jesse Ragan and Ben Kiel about starting their new type foundry XYZ Type.
Ben and Jesse both have distinguished careers working in house with the likes House Industries, Hoefler & Frere-Jones. Having found complementary skills in each other, they have now decided to take the leap and strike out on their own. We discuss their new venture, their considerations before taking the plunge and the skills it takes to start a new foundry.
Forward Festival for creativity, design and communication brings together the best international and local creative heads, who provide insights into their success stories in an exciting atmosphere.
The conference, the centerpiece of the festival is in English and accompanied by various side events, such as workshops, networking events and after parties. The festival takes place from 17 – 18 June 2017 at FREITAG F-actory in Zurich.
Savate is a typeface freely inspired by a hand-lettering found in the streets of Ivry-sur-Seine in the suburbs of Paris. Its name refers to the savate, a typically french fighting sport. Its character set is quite complete, with an italic and a wide language support.
Visuals 1• : Daniél Niederkofler
Daniél Niederkofler Graphic Design | Illustration email@example.com www.itsnicethat.com/articles/daniel-niederkofler-graphic-design-190417
Visual 2• : studiodesformes.net
The Cooper Hewitt typeface is a contemporary sans serif, with characters composed of modified-geometric curves and arches. Initially commissioned by Pentagram to evolve his Polaris Condensed typeface, Chester Jenkins created a new digital form to support the newly transformed museum. “Developing this typeface specifically for Cooper Hewitt has been enormously gratifying,” said Jenkins. “Instead of building on the Polaris structures, I drew everything from scratch, using the existing forms as a rough guide for letter widths and master-stroke thicknesses.”
The font can be downloaded free of charge for unrestricted public use under the SIL Open Font License.
Helsinki: Video interviews
In the summer of 2016 the Slanted editors embarked on their trip to Helsinki to take a close-up look at the contemporary design scene there. What they found was a rich creative community with a deeply rooted culture – people who do much more than just love design, they live it. The list of designers Slanted met with boasts everyone from legends such as Erik Bruun to young, wild creatives who are creating exciting voices in their own right. Well known figures from Helsinki’s contemporary design scene such as Jesse Auersalo, Bond Agency, Double Happiness, GRMMXI, Helsinki Type Studio, Kokoro & Moi, Kuudes, Linda Linko, Martin Martonen, N2, Tino Nyman, Prakt Design Agency, Schick Toikka, Tsto, and Werklig allowed a glimpse into their world. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free! www.slanted.de/helsinki.
The world’s first podcast about design and an inquiry into the broader world of creative culture through wide-ranging conversations with designers, writers, artists, curators, musicians, and other luminaries of contemporary thought / 281 Episodes Available
The Pixel School is a design methodology created by Arnaud Mercier (May 10, 1972 – September 26, 2011) and formalized by AREA 17. It is a defined way of working that has great impact on the final product. It consists of a set of design principles and the techniques to achieve them.
Disenchanted with the quality of design on the web, Arnaud created the Pixel School in 1999. It became a cornerstone of his design process and the predominant characteristic of his influential body of work. In 2005, Arnaud established the Pixel School as AREA 17’s design methodology. Later, it was formalized in collaboration with Kemp Attwood, David Lamothe and Martin Rettenbacher.
The Pixel School is a living document, updated as we refine our design approach and process. It is part of a series of guides that define how we do things as an agency. While all other guides are private, we have made the Pixel School available to the public.
What's trendy in google font in 2017.