Having perused http://www.magmabooks.com/ I came across Daniel Eatock's 'Imprint', he's the Graphic Designer who created the Big Brother's 'Eye' design. I must admit it has kept me thoroughly amused and that is something. He has a crazy sense of humour and has noticed how people leave abandoned car battery's in random places, so he has left photos of abandoned car battery's in blank spaces throughout his book.
Saturday, April 4, 2009
Pomme Chan
Given a choice I would always go for hand-rendered typography, this suits my leaning towards illustration. I learnt quite a lot researching Peter Bilak, but his style generally left me cold. But I guess experiencing what he is all about gave me a clearer judgement on my own taste. I particularly liked that he co-produced dance with a choreographer, I'm always impressed when creatives branch out in unexpected ways. This is a really inspiring designer I have come across, you can see more of her work at www.pommepomme.com/news.She borders a very fine line between hand-rendered typography and illustration in this particular piece of work.
Thursday, April 2, 2009
Heidi Rodriguez
Ringling School of Art and Design graduate Heidi Rodriguez has got a nice site. Pictured is a project called ‘Dress’, can't really tell you much about it.
References
Really helpful for essays and the Hussien Chalayan project.
http://www.vam.ac.uk/exhibitions/index.html
This website also has a lot of good references and link. Bit of everything is available on there really good for graphic design and other random things. Images added are from this site.
Jamie Delaney
Came across this website it has some nice pieces of work worth taking a look at :) http://jamiedelaney.com/
Wednesday, April 1, 2009
Jan tSchichold
Jan tSchichold, born in April 2, 1902, Leipzig, Germany and died in August 11, 1974. Locarno, Switzerland. He is a German typographer in the 20th century. Jan Tshishold is one of the most influential and important typographic designers of the 20th Century.
Tshishold was not a member of the Bauhaus himself but was heavily influenced by the new typography which emanated from this school of modernism. He himself helped to define this style of modernist typography which is characterised by its use of geometric sans-serif type and simplified asymmetric layouts. Tshishold applied the principals of constructivism to his minimal precise typography using extended and condensed versions of sans serif gothic typefaces, and preferred the use of a single type face in his designs. Occasionally he may have introduced a serif type for the header such as Bodini if the subject warranted, but on the whole he kept to a single type face.
In October 1925 he published an article in the German trade journal Typographische Mitteilungen in which he outlined his own manifesto of modern typography and what he saw as the ten elementary principles of typography. He continued as spokes person for this form of typography advocating typefaces which were stripped of all decoration to highlight functionality, whilst using layouts which emphasised dynamic asymmetric forms. Most influential of all were the principals he set out by constructing a method in which typographers and printers could apply these systems to their daily work, a series of grids which would later be developed by the Swiss into the grid systems we still use today. These systems work extremely well with modern computer programs.
Tshisholds first book Die Neue Typographie became a text book for this new movement.All of the New Typographers made use of "white space" in their designs with only minimal use of colour, sometimes only a single colour would be utilised to compliment black type or a monochrome photograph. Red, orange and brown were most commonly used with the occasional addition of dark green or blue.
In 1933 Tshishold was forced to flee Nazi Germany for Switzerland to escape persecution, here he abandoned the new typography for a more classical style- going back to symmetrical layouts and more decorative typefaces- apparently associating modern typography with fascism. From this time forward he worked predominantly on book design. Most notable of this was his three year stint at penguin books in London where he redesigned both the internal and external layout of the books. he utilised the same asymmetric forms and type for which he first became Known. He redesigned their entire range of books, thus also helping to reaffirm the brand of the book, a consumer could instinctively now they were reading a penguin book just by its uniform format. He also helped to design special edition books for the company. It is also worth mentioning, though not an illustrator, he redesigned the Penguin logo itself, from a slightly rounder more realistic looking bird to the slick stylized graphic style bird we have come to associate with these books still. Jan Tshichold continued to practise and write about typographic matters until the early 1970's.
Tshishold was not a member of the Bauhaus himself but was heavily influenced by the new typography which emanated from this school of modernism. He himself helped to define this style of modernist typography which is characterised by its use of geometric sans-serif type and simplified asymmetric layouts. Tshishold applied the principals of constructivism to his minimal precise typography using extended and condensed versions of sans serif gothic typefaces, and preferred the use of a single type face in his designs. Occasionally he may have introduced a serif type for the header such as Bodini if the subject warranted, but on the whole he kept to a single type face.
In October 1925 he published an article in the German trade journal Typographische Mitteilungen in which he outlined his own manifesto of modern typography and what he saw as the ten elementary principles of typography. He continued as spokes person for this form of typography advocating typefaces which were stripped of all decoration to highlight functionality, whilst using layouts which emphasised dynamic asymmetric forms. Most influential of all were the principals he set out by constructing a method in which typographers and printers could apply these systems to their daily work, a series of grids which would later be developed by the Swiss into the grid systems we still use today. These systems work extremely well with modern computer programs.
Tshisholds first book Die Neue Typographie became a text book for this new movement.All of the New Typographers made use of "white space" in their designs with only minimal use of colour, sometimes only a single colour would be utilised to compliment black type or a monochrome photograph. Red, orange and brown were most commonly used with the occasional addition of dark green or blue.
In 1933 Tshishold was forced to flee Nazi Germany for Switzerland to escape persecution, here he abandoned the new typography for a more classical style- going back to symmetrical layouts and more decorative typefaces- apparently associating modern typography with fascism. From this time forward he worked predominantly on book design. Most notable of this was his three year stint at penguin books in London where he redesigned both the internal and external layout of the books. he utilised the same asymmetric forms and type for which he first became Known. He redesigned their entire range of books, thus also helping to reaffirm the brand of the book, a consumer could instinctively now they were reading a penguin book just by its uniform format. He also helped to design special edition books for the company. It is also worth mentioning, though not an illustrator, he redesigned the Penguin logo itself, from a slightly rounder more realistic looking bird to the slick stylized graphic style bird we have come to associate with these books still. Jan Tshichold continued to practise and write about typographic matters until the early 1970's.
8vo
8vo is a graphic design company hailing from London. Started in 1985 by Simon Johnston, it also consists of Mark Holt and Hamish Muir.
8vo produced a series of magazines betwen 1986 and 1992 which were called Octavo. Here is a little information about these magazines.
8vo also produced a lot of the record sleeve for Factory Records. You can see some example here
You can view Simon Johnstons website here
Mark Holts website is here
Hamish Muirs website is here
A 'fan site' all about 8vo is available for viewing here
A2/SW/HK
Scott Williams and Henrik Kubel are the group A2/SW/HK. They met at the Royal College of Art in London, after graduating they set up a design company in London.They have a wide range of design ideas and materials that are used in their pieces. If you look at their work you will see that the designs they have produced are all very well planned and structured.
Simon and Henrik are recognized internationally with awards such as; D&AD, ADCNY, TDCNY, Design Week Awards, DDC, ISTD, AGI, etc...
A few of their big clients are; Tate Britain, V&A Museum, Vogue UK, Royal Mail and many more...
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