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Editorial design for Designer Dream Homes Magazine, a DDP publication.
Editorial design, magazine design, magazine, designer dream homes, dpp, dpp publishing, Kathleen nalley,
IEEE Spectrum // September 2009.
SPD Gold Medal, Design: Spread (Pub 45)
A feature on the making of The Beatles: Rock Band. Photographer Josh Dalsimer initially shot a portrait of the two Harmonix co-founders on a club stage in Boston. We figured we'd just use that as the opening image, but later commissioned illustrator Sean McCabe to take our existing portraiture and integrate it with game elements to give it a more "Beatles" vibe. I created the record and label in Photoshop to use for the headline, subhead, and byline using the '60s-era Capitol Records labels as inspiration.
On the covers of the Anglo-Dutch Unilever house magazine "Progress" is this fine study of the British Railways Western Region's Locomotive, Carriage & Wagon Works at Swindon then described as one of the largest such works in Europe. Famously the main workshops of the pre-nationalisation Great Western Railway Swindon Works remained an important site in Britihs Railway days and, at the time, was still constructing locomotives.
The picture shows the locomotive erection shops, pride of place taken by one of the fruits of BR's 'Modernisation" programme - one of the Western's "Warhip" diesel-hydraulic locomotives that sits next to one of the partially constructed 2-10-0 9F heavy freight steam locomotives that were amongst the last constructed for British Railways and that were destined to have relatively short lives.
In the background a nod to history - Brunel's broad gauge locomotive North Star that was preserved at the works along with one of the driving wheels of the Lord of the Isles. There is also a mouse, trademark of Cuneo who was at the time one of the country's most commissioned artists. As the introductory note states he was frequently commissioned by BR for posters and he had recently completed four commissions for HM Queen Elizabeth II including a recently completed picture of the departure of HM The Queen on her State Visit to Denmark from Hull, a painting that was hung in the city's Guildhall.
Cuneo's work appears on the covers as the main article in the magazine is on the BR Modernisation Plan by the Chairman of the British Transport Commission, Sir Brian Robertson. Interestingly the magazine quotes that the commission for this work was by Unilever for Progress - however the painitng also forms the basis for a British Railways poster so consent must have been given.
The Head of State, Singapore Autumn/Winter 2011/12 issue (October 2011 – March 2012)
From:
21 > 26 November 2011
SHOP Magazine Cover Illustrations
Kemistry Gallery
43 Charlotte Road
London EC2A 3PD
kemistrygallery.co.uk
For more exhibitions see the events page on the Eye blog: blog.eyemagazine.com/?page_id=158
On the covers of the Anglo-Dutch Unilever house magazine "Progress" is this fine study of the British Railways Western Region's Locomotive, Carriage & Wagon Works at Swindon then described as one of the largest such works in Europe. Famously the main workshops of the pre-nationalisation Great Western Railway Swindon Works remained an important site in Britihs Railway days and, at the time, was still constructing locomotives.
The picture shows the locomotive erection shops, pride of place taken by one of the fruits of BR's 'Modernisation" programme - one of the Western's "Warhip" diesel-hydraulic locomotives that sits next to one of the partially constructed 2-10-0 9F heavy freight steam locomotives that were amongst the last constructed for British Railways and that were destined to have relatively short lives.
In the background a nod to history - Brunel's broad gauge locomotive North Star that was preserved at the works along with one of the driving wheels of the Lord of the Isles. There is also a mouse, trademark of Cuneo who was at the time one of the country's most commissioned artists. As the introductory note states he was frequently commissioned by BR for posters and he had recently completed four commissions for HM Queen Elizabeth II including a recently completed picture of the departure of HM The Queen on her State Visit to Denmark from Hull, a painting that was hung in the city's Guildhall.
Cuneo's work appears on the covers as the main article in the magazine is on the BR Modernisation Plan by the Chairman of the British Transport Commission, Sir Brian Robertson. Interestingly the magazine quotes that the commission for this work was by Unilever for Progress - however the painitng also forms the basis for a British Railways poster so consent must have been given.
The Architectural Review of this period was not only an amazingly authorative journal but also, in terms of its own style and design, a very contemporary journal. This issue from 1948 could boast the noted illustrator Gordon Cullen as the assistant Art Editor and the editorial board consisted of J M Richrads, Nicholas Pevsner, Osbert Lancaster (himself) and H de C Hastings.
The reason behind this marvellous cover by Lancaster was an article on the new colour schemes and liveries for the newly nationalised British Railways by the well known railway writer, Hamilton Ellis. Osbert Lancaster, a noted architectural writer and illustrator, chose this series of trains to show the legacy liveries of not only the pre-decessor companies to BR, such as the Southern, but also the pre-Grouping concerns such as the Midland, the Great Northern and the Caledonian Railway. Oddly, the latter's blue was to reappear some years later as the livery for the new Glasgow area electric multiple units and that helped garner their 'brand' as Blue Trains. The subject of what colours the new national organisation should paint its trains, and so develop a 'national' brand was vexed, and the debate and decisions swithered from regional colours (along the 'Big Four' lines) to different liveries for different types of stock - locomotives, carriages and, such as for EMUs, a continuation of the Southern's green seen here.
One lovely touch is that the artist has chosen to place the issue title and information in the form of enamel advertising signs in the last illustration! It adds to the charm and reality of a multiplicity of information and advertising often to be seen on railway platforms!
Magazine design in Malaga, Andalucia.
Magazine: Modern Design magazine, september 2008.
Designer: Rolando S. Bouza.
email: rolando.bouza@gmail.com
website: www.behance.net/bouza
Magazine design in Malaga.
Magazine: Modern Design magazine, september 2008.
Designer: Rolando S. Bouza.
email: rolando.bouza@gmail.com
website: www.behance.net/bouza
The Southern issued this quarterly magazine (for first class ticket holders) and made a real effort with the design & layout. This edition, written by Michael Gifford (following the death of long term editor E P Leigh-Bennett the travel writer) was decorated by Victor Reinganum - with a series of vignettes. The magazine was set up and printed by the lovely Curwen Press - and it shows in terms of layout and lettering.
The cover has a fascinating collection of lettering and typography with a graphic description of tracks and points to produce a fan. There appears to have been three variations on the cover design over the decade this, from 1939, being of the final design.
The main article in this issue is regarding the completion of the electrification scheme for lines towards Reading extending electric services beyond Guildford and Virginia Water. This was another phase of the Southern's extensive programme of third rail electrification and modernisation of their primary commuter lines that allowed them to develop commuter traffic and sell a vision of a 'modern' railway. Victor Reinganum's vignettes make an excellent play on the vision of fast, clean electric trains.
The Autumn 1958 issue of Anglo/Dutch Unilever's house magazine, Progress, has this fine cover designed by Abram Games and it is based on the symbols of the specialised agencies of the United Nations. The magazine has an article by Ritchie Calder on the these organisations that includes the Universal Postal Union, The International Civil Aviation Organisation, UNESCO, the World Meteorological Organisation, the International Telecommunications Union, the World Health Organisation, UNICEF, the Food & Agriculture Organisation, the International Labour Organisation and the International Bank for Reconstruction and Development.
Games was one of the best known post-WW2 of British poster designers and graphic artists. The magazine was printed at the Butter Market Press of W S Cowell in Ipswich.
I’m posting this page from Typographically Speaking: The Art of Matthew Carter in an attempt to correct some misinformation about Helvetica Compressed that is being spread without citation elsewhere online.
Carter’s captions in the original panel (which are just barely legible in the book’s reproduction) tell a definitive story of the origins of Helvetica Compressed:
“A set of three faces designed in 1966 for the Linofilm phototypesetter. Although they were considered part of the Helvetica family – for marketing reasons – these faces had their real origin in a pre-Helvetica sanserif that appeared in a Swiss book on lettering in 1954 [Armin Haab and Alex Stocker’s Lettera, Vol. 1: A Standard Book of Fine Lettering, published by Verlag Niggli AG]. Schmalfette Grotesk, as it was simply known, was never made as type but was pasted up as stats for headlines in the German magazine Twen. Twen, a major influence in graphic design in the ’60s, was designed by the incomparable Willy Fleckhaus. Three spreads below.
“Helvetica Compressed was an attempt to capture the strength of the Twen face (and avoid the hideous shapes of Letraset’s Compacta), add a lowercase, and expand it into a three-face series.”
Carter’s captions also do a great job explaining the quantized unit system from the old Linofilm phototypesetters, and their influence on the design of the Helvetica Compressed series:
“The Linofilm had a relatively coarse spacing system with only 15 discrete widths that characters could occupy, measured from 4 to 18 units. The three possible 1-2-3 integer progressions required by lowercase characters with one, two, and three vertical stems are shown in this diagram. Thus the mechanics of the Linofilm effectively determined the weights and widths of these three faces.”
In an email conversation with Carter (included in the comments below), he clarified that he designed the Compressed and Extra Compressed styles in 1966, and oversaw Hans-Jürg (sometimes misspelled as “Hans Jörg”) Hunziker’s design of the Ultra Compressed style in 1968. Hunziker also designed the specimen for the whole family.
Magazine design in Malaga.
Magazine: Modern Design magazine, september 2008.
Designer: Rolando S. Bouza.
email: rolando.bouza@gmail.com
website: www.behance.net/bouza
We set out to broaden people's idea of what qualifies a person as healthy. Nick Vujicic was amazing to trust us with this unconventional portrait and was fantastic to work with.
The team included:
photographer: Fred Lopez
model: Nick Vujicic
photoshop: Josh Clark
There is actually quite a lot behind this journal cover and in someways, where to start? The journal "Illustration" was issued by the London based printing company of André, Sleigh & Anglo Ltd., a company that had been formed under this name in 1914 having previously traded Menpes Printing & Engraving. This in turn had been a renaming of the printing and engraving business formed by George W Jones in c1890 - Jones had left in 1908 and the press's art director Menpes had taken the concern over.
The year after this journal was published ASA was absorbed by the Sun Engraving Company, formed in London in 1911, and the new concern concentrated business at ASA's plant in Watford. Sun Engraving went on to become one of the largest and best known printers in the UK based on the large rotary photogravure process they mastered - they printed the vast majority of Britain's magazines and catalogues building on both earlier companies speciality. Indeed this edition of "Illustration" contains numerous examples of such work as it was "a magazine devoted to the craft of mechnaical reproduction, thereby dealing with Art and Workmanship in Printing, and Science in Advertising and Commerce".
The name most associated with Sun was the founder, Edward Hunter. This printer by trade and astute businessman, had close links with printing experts such as Gerald Meynell and so was able to work with artists and designers such as MacDonald "Max" Gill who undertook much work for Sun both in terms of commissioned work for books, magazines as well as signage for the company buildings. Indeed this edition of Illustration contains work by Max Gill.
An artist and craftsman closely associated with Max Gill was Edward Johnston, the calligrapher who had designed London Underground's new typeface in 1916, commissioned by Frank Pick, who would also commission Max Gill to design the now famous pictorial maps issued by the Underground Group. The link to Johnston is here at the top of the image; the masthead for "Illustration" was designed by Johnston.
If that wasn't enough we should turn our attention to the "Perfect Puss" shown here - signed by H Brodzky. Horace Ascher Brodzky (30 January 1885 – 11 February 1969) was an Australian-born artist and writer who moved to London in 1908 and subsequently studied at the City and Guilds of London Art School. Here he became connected with some of the most avant-garde artists and designers and his early works are associated witht he Vorticist movement. In 1915 he moved to New York but returned to London in 1923. He was one of the pioneers of linocut illustartions and, I suspect, this cover is a reproduction of one intended to show off not just Brodzky's work but André, Sleigh & Anglo's expertise.
.uni assignment. i have taken the picture myself, and have pretty much included all the topics for all the three articles in one shot.
The July 1933 issue of Architectural Magazine was a subject specialist number on the topic of British Industrial Art looking at design and craftsmanship in architecture and building. It is very much in the vein of work undertaken by the Design and Industries Association and indeed a few names common to the theme crop up in the magazine such as Christian Barman.
This is the striking cover that sadly no designer is credited with.
The Autum 1958 issue of Anglo/Dutch Unilever's house magazine, Progress, has this fine cover designed by Abram Games and it is based on the symbols of the specialised agencies of the United Nations. The magazine has an article by Ritchie Calder on the these organisations that includes the Universal Postal Union, The International Civil Aviation Organisation, UNESCO, the World Meteorological Organisation, the International Telecommunications Union, the World Health Organisation, UNICEF, the Food & Agriculture Organisation, the International Labour Organisation and the International Bank for Reconstruction and Development.
Games was one of the best known post-WW2 of British poster designers and graphic artists. The magazine was printed at the Butter Market Press of W S Cowell in Ipswich.
Advertising Display was one of the trade magazines dealing with "commercial art" of its day and it was at this time published by Odhams Press in London. This striking cover is noted as being the second for the magazine designed by Colin Dilly of the Basset-Grey Group and was printed for the magazine using the oil-paint silk-stencil process undertaken by Venesteo Process Ltd, under the direction of R G Cave. It is the product of four workings and is on Grosvenor Chater's Royal Cornwall Card cover, thin white, mill finish and was intended to display the possibilities of this printing process.
Editorial design for Golf Georgia magazine, the official publication for the Georgia State Golf Foundation
Editorial design for The Exchange. The magazine for the College of Business & Behavioral Science at Clemson University.
Magazine design in Malaga.
Magazine: Modern Design magazine, september 2008.
Designer: Rolando S. Bouza.
email: rolando.bouza@gmail.com
website: www.behance.net/bouza