London based Frenchman Arthur Foliard has launched his new portfolio with recent work. His CV is quite impressive, with experience at Pentagram, Landor and Moving Brands, picking up honours along the way such as a Gold D&AD, Gold Cannes Lion and ADC, even more impressive is that Arthur is just 25. One to keep an eye on for sure.
Currently studying at Beckmans College of Design, Stockholm, Swedish student Oskar Pernefeldt has immersed himself in vexillography (the practice of designing flags). Deciding to skip mere countries, Oskar instead took a giant leap (ahem) and created a flag design for planet earth.
Check out the nice new site and portfolio update from photographer Matt Davis.
Moving Brands have launched the new brand for Tiko, one of the world’s largest smart grid systems. The communications are playful and human to attract an audience new to connected devices, while a distinct illustrative style, icon system and fluid graphic textures create a comprehensive visual identity which allows a range of expression.
Find out more about the project over on Moving Brand’s project case study.
Neville Brody’s Research Studios is now working under the new name Brody Associates. Their new site is worth a visit!
With Monotype’s recent acquisition of FontShop we thought it would be the perfect time to chat to Jürgen Siebert about his plans for 2015. We met him at the FontShop offices in Berlin to ask him about the yellow bible, font-hosting and the upcoming TYPO Berlin Conference.
Image: Fontbook stack by Grant Hutchinson
For the very few, who have never heard of FontShop, could you briefly explain your relationship with FontShop and TYPO Talks.
Jürgen Siebert: FontShop was founded at the beginning of the desktop publishing era, with Adobe (PostScript language), Apple (Hardware: Mac & LaserWriter) & Linotype (digital fonts) paving the way to make more typefaces accessible and easier to implement. Democratisation of prepress process.
Up until then you had to use Letraset or a typewriter and a photocopier if you wanted to create any type of printed material at home. I’d say it’s a technological advance comparable with Gutenbergs’ movable type.
“Everyone can be a little Gutenberg” roughly translated that was the title of Page Magazin, which I co-founded in 1986 and led the editorial staff for 5 years.
I met Erik Spiekermann at a couple of conferences before he convinced me to move to Berlin to start at FontShop International which he was launching together with Neville Brody. FontShop (founded by Erik and Joan Spiekermann) and Fontshop International were the first font mail order service. Initially the catalogue included typefaces from established foundries (such as Emigre, Font Bureau, Monotype and our own FontFont collection) and independent typographers.
At this stage was this catalogue already similar to the infamous FontBook?
JS: Not yet, it started much smaller. The first version was a binder format with alphabetical dividers so that you could update the catalogue as the FontShop Library grew. Over the years our catalogue developed into a bound book and in 2006 we published our final edition. The library simply grew to be too large to publish. Larger font families like Meta had to be squeezed into inappropriately small spaces. With the introduction of OpenType we could include more glyphs and languages and reached the boundaries of what was possible in print.
Luckily as the iPad arrived in 2010 the FontBook app allowed us to offer more ways of finding the perfect font. We even increased our categories five-fold and added subcategories.
This year we launched the new FontShop website, which allows us to make use of all the advantages that Webfonts offer. We can finally show the original font, not an impression or an image. It’s almost reminiscent of holding the printed FontBook in your hands again, but we can now let you play around with the typeface before you buy it.
Here at FFF we’re big magazines fans, so when we recently had the opportunity to speak to the Design Director of no less than the acclaimed award-winning The New York Times Magazine, Gail Bichler, obviously we got stuck right in. Gail is genuinely one of the loveliest people working in the industry, not to mention talented, and like any good leader she has surrounded herself with exceptionally brilliant people to help her create one of the most exciting and jaw-dropping weekly magazines. You might recall her most recent international signing, Art Director Matt Willey, is an old friend of FFF and outrageously talented gent. The latest issue of the NYT Magazine is a ‘special issue’ that Matt took the lead in designing – so we focussed on that issue – while exploring some of the wider issues around leading such a renowned title…
FFF: Single-topic issues can be quite tricky, does the NYT magazine have a history of doing them? ‘Walking New York’ seems like a very rich vein to mine, and the JR cover is brilliant expansion of this, how does a collaboration like that come about and how tricky is it to pull off?
GB: Yes, the magazine does about 14 single topic issues per year. As you say, they can be tricky to pull off, but we really enjoy working on them. In regular weeks, each feature article in the magazine is designed by a different member of our team in response to the content and visuals of that story. We pay attention to how the pieces fit together in terms of pacing and imagery to make sure there is visual variety and a good flow, and some common elements like typefaces and grid ensure that the pieces work together. For our special issues, we work in an entirely different way. One lead designer heads up the issue, Matt Willey in the case of Walking New York, and comes up with a visual language to be used throughout the well that serves as the identity of the issue. It’s a more systematic, cohesive approach to the design of the magazine. We use new fonts, often alter the grid and commission special artwork for these issues, so they are great opportunities for our team.
The idea to do a Walking New York Issue came from our editor in chief’s, Jake Silverstein:
“We wanted to write a love letter to our hometown, and the thing we all love to do in N.Y.C. is walk. Everywhere. That’s a unique quality, at least among American cities. New York is the only American city with a dominant pedestrian culture, so we thought that telling walking stories would capture the city’s spirit.”
As to how JR got involved, our director of photography, Kathy Ryan, had been looking for a way to collaborate with him for some time and thought he could do something special for our New York Issue. Then JR came in for a brainstorming session with Jake, some of the editors involved in the issue and me on March 6. The cover was shot on April 11, so there were about four weeks of preparation and planning. Kathy and Christine Walsh (one of our photo editors) did an incredible amount of legwork to figure out the logistics of making the cover, including scouting the pasting locations, finding possible cover subjects, securing the city permits, chartering a helicopter and figuring out the precise timing of when the lighting on plaza would be conducive to getting our cover shot.
Peroni could not have commissioned a more appropriate illustrator than Riccardo Guasco for this collection of illustrations.
Originally featured on a Camegie Hall poster 1967, Milton Glaser’s classic Glaser Stencil typeface has been brought back to life by Rick Banks of Face37. Originally available in bold, the new digitalised version of the geometric stencil now comes in four weights: Extra Light, Light, Medium, Demi.
Sold exclusively through Hype for Type, the F37 Glaser Stencil is available for £15 per weight.
DR.ME is a creative studio based in Manchester comprised of Ryan Doyle (DR) & Mark Edwards (ME). They work in a diverse range of media including some great photo-collage and video-based work for both commercial clients and exhibitions, including: Bloomberg Businessweek, Urban Outfitters, Red Bull, Sony, Universal Music and Intern Magazine.
They’re currently creating a collage a day for 365 days straight, the collages will be no bigger than 240mm x 165mm, and are available to purchase – those not sold will go into an exhibition at the end of the year.
Keep up to speed with what they’re up to on twitter.
I’ve fallen in love with the illustration of Tokyo based Ryo Takemasa.
London based StudioSmall are firm believers of less is more, and it shows in their slick new site — featuring beautifully clean work for Dunhill, Fred Perry, Londonewcastle, Modus and Margaret Howell, who they’re celebrating their 10th anniversary with.
StudioSmall. Because you don’t have to be big to be clever.
As most leagues across Europe are moving into the business end of the season, Rick Banks (Bolton) and Dan Greene (Arsenal) have launched their new blog The Modern Game, which aims to celebrate feats of creativity that make the game beautiful.
Many readers will already be familiar with Rick’s passion for the sport, following the hugely successful release of his book Football Type, which celebrated typography in football, and by all accounts Dan – Design director Wolff Olins – is an equally ardent fan.
The blog is already packed full of football and design related loveliness, throw in rumours of some exciting new partnerships in the works and it’s a must visit for fans off football and design. To show your support, visit The Modern Game and follow them on Twitter.
Estudio Yeye is a graphic design studio based in Chihuahua, México. In this interview, founder Orlando Portillo talks about the studio, their background and philosophy.
1. First of all, can you tell us about the studio and the team behind Yeye?
Yeye is a small design studio located in the city of Chihuahua, in northern Mexico. The team is made up by designers of different disciplines. Our first intention was just to offer graphic design services, but we have had the opportunity to go further.