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find out more about this lecture and watch the video in the kd-lounge archive.
photo: moritz profitlich
Fresh from the printers: The German edition of the Danish writer Arthur Krasilnikoff's novel «Das Auge des Wals» (The Eye of the Whale), a wonderful story of a childhood spent in the 1940s' Faroe Islands, told in 111 short chapters. I have designed and typeset the book.
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The Wolf Book, designed in 1990
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In first grade, our teacher assigned us a project. Each student was assigned an animal, and our task was to research that animal. We compiled our research into a short, ten page book. The animal I chose was the Mongolian wild horse, and the experience was a blast. I absolutely loved the process of researching, drawing pictures and maps, and ending up with a designed object.
A few months later, during the summer of 1990, I decided to make another book about one of my favorite animals, the wolf. I spent several weeks photocopying pages from National Geographic World magazine, redrawing maps and diagrams, filling pages with some very bizarre editorial drawings, and typing paragraphs on an ancient word processor. The finished pages were then comb-bound at my father's office.
While designing my recent book, Forgetting Oildorado, I recalled the process of making The Wolf Book. I travelled to my parents house where the book resided, and flipped through it for the first time in well over a decade. It's fascinating to revisit something that was once so cherished, and to see the striking parallels between something that was designed at the age of 7 and the work that I'm currently producing.
When I made this book, I had no idea that I'd end up a graphic designer. But it seems that from a very early age, I was -- unknowingly -- well on my way.
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Break out on the Leidse square in front of the theatre
Photograph © 2012 Leo Veger
Read ‘Can design do what?’ – Catherine Dixon’s report from the Dutch conference ‘What Design Can Do!’, which looks at design’s potential to address social problems.
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Unbeknownst to many, Los Angeles has served as one of the most important oil provinces on the planet. From the initial discoveries near the turn of the 20th century, through the roaring 1920s, and into the present, oil has often guided and defined the development of the city. What's interesting, however, is that this fact is so often eclipsed by Los Angeles' well-documented histories as a center of film, entertainment, boosterism and agriculture. Forgetting Oildorado excavates the city's rich oil history, examines the slow decline of the local industry, and uncovers many of the active oil fields that lie hidden in plain sight, in the very midst of this teeming city.
This 120-page book includes text based upon Frank Ruchala Jr.'s monumental examination of Los Angeles' oil history, oiLA, with historical imagery sourced from Early California Oil by Kenny Franks and Paul Lambert. All other photography was shot by me, using a combination of Digital SLR, 35mm SLR, Medium Format Holga, and 35mm Lomo cameras.
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This is research we are doing to determine the style & design of our upcoming book on business model innovation...
The book documents a series of illustrations I made of exhibits from the Israel Museum in Jerusalem. all illustrations were made during December 2010 while wondering through the museum.
Salzburg • Vienna • Prague is a travel book created for our clients who toured these cities on their recent vacation abroad. We compiled the pictures from everyone in the group to create a beautiful photographic essay of their trip. The book was designed as a surprise gift for the upcoming holidays.
O concurso arquia/próxima, organizado pola Fundación Caja de Arquitectos, ten como finalidade dar apoio e difusión aos arquitectos do estado nos primeiros dez anos de exercicio profesional.
O encargo requería dar identidade gráfica ao concurso e ao foro arquia/próxima do ano 2012, titulado “Nuevos Formatos”. Os soportes que era preciso deseñar eran: un cartel, un políptico e un catálogo físico e dixital (web) coas obras recoñecidas.
Desde o inicio do proxecto consideramos a relación entre os soportes en base a unha idea e un concepto máis que mediante a aplicación constante dunha gráfica determinada. Coas cores corporativas e co formato do catálogo en papel xa determinados, comezamos a indagar sobre a finalidade do concurso: a visibilidade e promoción dos estudios de arquitectos novos. Con ese obxectivo en mente, e tendo sempre presente o título de 'Nuevos Formatos', pensamos nos fanzines, publicacións autoeditadas moi comúns no mundo da arquitectura desde os anos 60, como base da identidade do concurso, relacionando, a través dese formato, os seus distintos soportes.
Por outra banda, coa intención de comunicar o desgaste que leva consigo o concepto de 'Nuevo' no mundo da arquitectura e do deseño, deseñamos a identidade visual en contradición co título 'Nuevos Formatos', elaborando impresións 'analóxicas' mediante técnicas case en desuso: tipografías de madeira, diferentes plantillas, máquinas de escribir… (vimeo.com/49371560) posteriormente dixitalizadas, continuando coa lóxica da autoedición e do feito por un mesmo (DIY) do fanzine
Fanzines.
Maquetouse un fanzine para cada proxecto seleccionado no concurso (120 fanzines, 1920 páxs.). Os fanzines poden ser descargados dende a páxina do concurso como un arquivo PDF en formato A4 para despois ser impresos nunha impresora doméstica, dobrados e montados cun formato final de A5. Cada usuario pode descargar e construir os fanzines dos proxectos que lle resulten máis interesantes, creando unha colección persoal arquia/próxima 2012. Unhas instruccións de montaxe acompañan a cada pdf descargable.
Carteis e Polípticos.
Para o deseño do material de promoción e difusión do foro e do concurso deseñamos un cartel en formato A0, que dobrado, cortado e grampado construía un políptico/fanzine en formato A5. Imprimíronse tres versións diferentes de cartel segundo o método de impresión da tipografía: stencil (pochoir), plantillas de rotulación e tipografías de madeira.
Catálogo.
Seguindo a lóxica de relación entre os diferentes soportes, quixemos que o catálogo reflexase tamén a idea do fanzine. Dentro do formato xa determinado das publicacións da Fundación Caja de Arquitectos, introducimos un encarte en formato A5 para cada proxecto. En cada encarte, un código QR enlaza coa páxina do catálogo dixital (web) de arquia/próxima onde se pode consultar e ampliar a información do proxecto que aparece no propio libro, ademais de ter a posibilidade de descargar o seu fanzine específico.
Con esta estratexia, contando coas limitacións de espazo do libro e co volume de información dispoñible, o catálogo físico funciona máis como unha presentación de todos os proxectos seleccionados que despois é ampliada no catálogo dixital, onde a documentación de cada proxecto pode ser máis exhaustiva e onde é posible, ademais, incorporar outro tipo de información (videos, mapas, etc.).
Catálogo dixital.
O catálogo dixital (web) deseñouse como un respositorio de todas as obras seleccionadas (120) para que fose posible acceder á diferente información de cada proxecto (imaxes, planos, videos, mapas,…) con facilidade e de maneira áxil. Conscientemente se reduciron os elementos de interación co usuario para facer máis inmediata a navegación. A programación da web se elaborou con criterios de deseño adaptable aos diferentes dispositivos de visualización.
Trofeo.
Para recoñecer as obras premiadas, en vez de deseñar e elaborar un trofeo máis ou menos convencional, e seguindo coa lóxica de adaptabilidade de formatos entre os diferentes soportes de comunicación do premio, deseñamos unha publicación que reunía os 24 fanzines das obras candidatas. Aos autores de cada obra candidata aos premios se lle outorgou unha publicación personalizada, na que o seu fanzine foi impreso nun papel de cor amarela. O libro/trofeo funcionaba ao mesmo tempo como diploma.
Equipo de traballo
deseño.
desescribir
desenvolvemento web
estudio caravana
maquetación
Rebeca Ces e desescribir
deseño e coordinación foro
Xiao Varela (habitat social) e desescribir
redes sociais
Pablo P. Golpe (ergosfera)
fotografías foro
Luis Díaz Díaz
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
Discovered a couple of designs I did a while back for a book cover design competition.
Really enjoyed doing something different from the web or conventional illustration. Was great to work in the constraints of the format.
Oh, and in case you were wondering, that's 'Bone'
ISBN: 9780141194097
Designed by Coralie Bickford-Smith
For more information:
www.penguin.co.uk/nf/Book/BookDisplay/0,,9780141194097,00...
See a video about the set at:
Seasonal Favorites from The Organic Kitchen (Autumn/Fall Edition) is a beautifully illustrated cookbook from Linda Spiker of The Organic Kitchen. The book consists of seasonal menus and contains over 50 recipes that are designed with healthy eating in mind. Beautifully photographed, the mouth-watering recipes incorporate an abundance of fresh fruits, vegetables, nuts, grains and good quality proteins. Easy to make, healthy for the body and satisfying to the palette.
Typographism is a student project about the religion of typography. I wrote, designed, and hand-bound this labor of love. It features the commandments (or rules), the typographer's prayer (based on the Lord's Prayer), and the saints, named for various classic typefaces.
Giovanni Boccaccio: Decameron
Edizione diplomatico-interpretativa dell’autografo Hamilton 90 a cura di Charles S. Singleton
668 pages
Print run: 1000 copies. 18×26.2 cm
1974. The John Hopkins University Press. Baltimore and London
Giovanni and Martino Mardersteig.
Book and Type Designers and Printers in Verona/Italy.
Exhibition celebrating 60 Years of the Printing House ‘Stamperia Valdonega’
Soseki NATSUME's "Kusa awase"
this is a facsimile of the first edition printed in 1908.
designed by Goyo HASHIGUCHI.
facsimile edition was printed in 2005.
夏目漱石《草合(くさあわせ)》初版復刻版
装幀：橋口五葉
初版1908年、復刻2005年
kusa awase is a sort of game popular among the aristocrats in Heian era(9th century). they bring along various plants and compare eachother to vie the winner. the idea of the game is reflected into the design of this book.
for this facsimile edition, glossy transparent ink and silk screen technique were used to recreate the surface of Japanese lacquer, which had been used to print the black part of the original binding. to use lacquer in printing was the designer Hashiguchi's idea. this was rare and thought to be very inovative idea then(and today).
草合わせとは平安貴族たちの間で流行った遊び「もの合わせ」の一つで、互いに持ち寄った草花を競い合わせ、優劣を競ったもの。その遊びが装幀のモチーフとなっています。
初版の装幀では、黒い部分に漆が使われました。これは装幀家・橋口五葉による斬新な発想でした。復刻版では、黒いインクの上に艶のある透明インクを何層も重ねて漆の質感を再現しています。
From The Beautiful and Damned by F. Scott Fitzgerald
ISBN:9780141194073
Designed by Coralie Bickford-Smith
For more information:
www.penguin.co.uk/nf/Book/BookDisplay/0,,9780141194073,00...
See a video about the set at:
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The Wolf Book, designed in 1990
____
In first grade, our teacher assigned us a project. Each student was assigned an animal, and our task was to research that animal. We compiled our research into a short, ten page book. The animal I chose was the Mongolian wild horse, and the experience was a blast. I absolutely loved the process of researching, drawing pictures and maps, and ending up with a designed object.
A few months later, during the summer of 1990, I decided to make another book about one of my favorite animals, the wolf. I spent several weeks photocopying pages from National Geographic World magazine, redrawing maps and diagrams, filling pages with some very bizarre editorial drawings, and typing paragraphs on an ancient word processor. The finished pages were then comb-bound at my father's office.
While designing my recent book, Forgetting Oildorado, I recalled the process of making The Wolf Book. I travelled to my parents house where the book resided, and flipped through it for the first time in well over a decade. It's fascinating to revisit something that was once so cherished, and to see the striking parallels between something that was designed at the age of 7 and the work that I'm currently producing.
When I made this book, I had no idea that I'd end up a graphic designer. But it seems that from a very early age, I was -- unknowingly -- well on my way.
____
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
*a comic strip consisting of several hundred illustrations conceived, designed and narrated by me.
p.s. the original splatter was in deep red but was substituted for blue as per suggestion of prospective publisher who felt that red was "overkill" LOL; in the end we could not see eye to eye and the project evaporated into thin air.
This is research we are doing to determine the style & design of our upcoming book on business model innovation...
"To Infinity and Beyond!: The Story of Pixar Animation Studios", 2007. Published by Chronicle Books. Design by Tolleson.
Everybody had to choose a counterculture and be guided by its (conscious or unconscious) visual identity. The subject of my book was dandyism. They cleared the road for other ambiguous groundbreakers like youth culture, art and the gay movement. As a matter of fact, dandyism is more than a clearly identifiable cultural and historical phenomenon and thus it was quite a challenge to explain its history in a somewhat chronological way, so there are no real chapters in the book. It’s been dividend into three main parts, where each one has its own graphic character expressed in a textual, material or visual way. In dandyism, certain historical figures like Brummell, Baudelaire, etc. served as a prototypical reference to the dandyism of their time.
Because of that, their bio's are like a foundation from which the book is constructed to offer a better insight to the reader. The literary character of the (historical) dandyism is clearly shown but you can see the emphasis shifting towards the end. In the 20th century, it became more of a popular-democratic element that was mainly expressed in images (fashion, photography, film). The centre consist colored pages in referral to the early fashion magazines -that real dandies read-, explaining mainly their clothing style throughout the different periods. By the confluence of form and content, the book has become a good and instructive overview on dandyism.