View allAll Photos Tagged Offset_Printing
The thirteenth release in our Designer Card series features a beautiful illustration by Portland artist extraordinaire, Jill Bliss!
Printed on 80% Recycled Environment 80# White Felt Cover stock, this card was offset printed with three soy-based Pantone ink colors.
Jill explores the natural world in her signature style, and these poppies are just the latest in her constantly growing collection of gorgeous illustrations of flowers, plants, and even tree houses!
Mia Nolting is a Portland-based artist, illustrator and designer. She filled this Scout Book with page after page of illustration, collage, typography and musings. We're impressed.
The Scout Book cover was designed by Bwana Spoons, another Portland-based artist.
What do you fill your Scout Books with? Share the creative goodness that takes place in your 32-page pocket notebooks and add your images to our flickr pool: Show Us Your Scout Book Flickr Pool.
Stay tuned: we interviewed Mia for our soon-to-be-released Scout Books blog! Awesome!
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Design: supplied by client
Client: Amy Febinger of Bourgeon
Offset lithography business cards were recently printed for floral & event design company, Bourgeon.
Stock: 110lb Neenah Classic Crest in Natural White
Inks: 8623U (Metallic Brown) / 699U (Pink)
Size: 3.5" x 2"
Read more about these business cards and offset lithography on our blog: Did you say offset printing?
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
FDR HS 1977 Me [Tony], Paul Bochco, Nelson Calix in Mr Gruber's Offset Printing Shop Class. This was the messiest class on Earth next to actually making the ink. To the left are California Job Cases holding the lead movable type for the old method manual ink presses. Today, they would NOT allow kids to handle the lead understandably. Tripoded Minolta SRT-102 or my XE-7 Sigma 16mm
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Scout Book Classic: a new tool to stay ahead.
We're pleased to release a new Scout Book line into the shop. Scout Book Classic pocket notebooks boast a sturdy chipboard cover printed with Classic Red ink, and a variety of 32-page interiors printed in a soft Forest Green ink.
Get 'em in your familiar favorite interior styles–Lines, Grid and Blank–or try the newest Lists style.
The fabulous Melani Brown shot these photos of Scout Book Classic Notebooks in the wild.
In addition to her organic craft roasting company, Angel O'Brian writes a fantastic blog at www.ladybugcoffee.com.
This business card was printed with two soy-based ink colors on Environment 120# White Cover.
Thorsten Keller is a media designer in Hamburg and keeps this beautiful blog all about the city's architecture, design, and photography! He includes a calendar on his blog where artists and galleries can add in their own significant dates and interesting activities going on around the city. Very cool. Keller's notebooks turned out beautifully as well!
Letterpress, perfect binding, outerspace: a new MPH release
Perfect Bound Book, 232 pages, 4.25″ x 8″
Exterior: 1/0, Letterpress Printed, Curious Touch Soft Milk 11# Cover
Interior: 1/1, Exact 60# Text Peach and Gray, Pantone soy-based Reflex Blue ink
Wallace Cochran writes a creative non-fiction history of the rocket, and Marriage Records‘ publishing imprint MPH has released it in this gorgeous limited-edition book. One half of the band Drakkar Sauna, Cochran’s text lent itself to lyrics for the band’s latest release on Marriage Records.
This book was lovingly assembled from two colors of interior text-weight stock and wrapped in a cover letterpress printed by EMprint Press. Design was done by AF Jamison. As much an exploration of publishing as it is of paper and ink, we’re proud to have worked on this specimen of fine printing.
LADISLAV SUTNAR P-NY
DESIGN IN ACTION
Iva Janakova-Knobloch & collective
The versatile talent of Ladislav Sutnar (1897-1976) made him a pioneer in modern graphic design. Inspired by the Bauhaus school, he also lent truly modern design to articles of everyday use. The book presents the most coherent overview of Sutnar’s work with essays by Steven Heller and Paul Makovsky.
ENGLISH edition, 392 pages
Hardcover 215 × 295 mm, 8.5 × 11.6 in
Beautiful coulour reproductions
High quality offset printing
Texts: S. Heller, J. Rous, T. Vlček, P. Makovsky
Graphic design: Petr Babak, Tomas Machek
Co-Published by UPM
FRANÇAIS
Le talent polyvalent de Ladislav Sutnar (1897-1976) fait de lui un pionnier dans la conception graphique moderne. Inspiré par l'école du Bauhaus, il a dessiné et réalisé des objets de la vie de tous les jours. Le livre présente un aperçu le plus cohérent du travail de Sutnar, agrémenté d'essais de Steven Heller et Paul Makovsky.
ESPAÑOL
La versatilidad de Ladislav Sutnar (1897 - 1976) le convirtió en un pionero del diseño gráfico moderno. Inspirado por la Bahaus, incorporó una estética moderna a los objetos de la vida cotidiana. El libro presenta una visión de conjunto muy coherente sobre el trabajo de Ladislav reforzada por las disertaciones de Steven Heller y Paul Makovsky.
ČESKY
Anglické vydání monografie o životě a díle Ladislava Sutnara (1897-1976). Jeho česká tvorba je mezinárodně uznávána a reprezentovala české umění na důležitých zahraničních výstavách. Všestranný výtvarný i organizační talent z něj dělá průkopníka moderního grafického a produktového designu.
DEUTSCH
Englische Ausgabe einer Monographie über das Leben und Werk von Ladislav Sutnar (1897-1976). Seine tschechische Arbeit ist international anerkannt. Sein vielseitiges Talent machen ihn zu einem Pionier des modernen Grafik- und Produktdesigns.
EDITION LIDU | Art Books Publisher
Order our books at:
© 2011, edition lidu and respective authors. All rights reserved.
Yeah, spacing is my downfall. Seems quite hard to space these correctly while drawing.
TypeCooker «class» recipe:
width: extra condensed
weight: light
construction: roman + capitals (woops, forgot the capitals)
stroke endings: rounded, no serif
ascender: shorter than normal
descender: shorter than normal
contrast type: expansion (pointed nib)
contrast amount: low contrast
stems: slightly concave
intended application: smooth offset printing.
[continued from part 1] i was quite excited – though admittedly extremely cautiously so – by the prospects of what i might see here, being at least "somewhat" familiar with what the possibilities may erupt into. the additional background/supplementary material seemed to suggest the CMCP may have opened up a little – or at least released the grippe from their little brown aperture for maybe once – but, over the course of some 5 days' study of all this stuff, it appears i was wrong.
what would i give any kind of appreciation to of the lot?
Ron Benner's work i like; the layering & rephotographing, transforming a found image of (well, a "looked for" image might be more apt) Sam McLeod's news photo (& this is from a neg or photo, no screening from the offset printing process, so Benner's done some work here) into an "express"ive texture was a treat: the photograph never does get left behind like unattended freight but brought along for the trauma of the ride, ever changed as it moves from panel to panel. & thank this fellow for being polite & responsible enough to cite the source of the image that was not his. others in this show – namely, Roy Arden & Louise Noguchi – did not. in fact, "her" locomotive panel – by itself – appeared in a further advertisement (in the X-PRESS) identified as a photograph by Louise Noguchi, which it clearly could not be. whose photograph is it?
[O.Winston] Link's stuff is good, even if i have a preference for the uncooked/candid composition. there's a tension lurking throughout his frames that's quite pleasantly unsettling.
(they're closing: i've gotta hurry now or come back again – which it looks likely i'll have to do.)
(picking up where i left off a few pages back:) Glenn Rudolph's stuff was perhaps the most engaging work for me in terms of straight rail photography: formally staid but wonderful departure points for one's own invented narratives as support structures for the photos they inevitably lead one back to.
i'd also cast a vote for Douglas Walker's extended work, a pleasure to get lost in the textures of in their gradations & abruptions.
James Welling's work, while successful in its dark evocation of the technology, ultimately was the batch that threw the whole lot into question. 1st thing in the door, one encounters a freight leaving Smiths Falls, heading W onto the Beckwith Street bridge & the main line track to Toronto. the significance of these Smiths Falls shots is admittedly different for us than for the average viewer: to get anywhere by freight from Ottawa, one 1st makes the daily out of Walkley yard to Smiths Falls [at that time: it's no longer running], where connections can be made for Montréal, Toronto or North Bay [nor is that latter any longer an extant run] (or, minimally, S to, i believe, Brockville on another local run) &, from them, the rest of the country. as such, it's a place we can be said to frequent. also as such, it's a place we have photographed in some detail (it's also a place where a lot of rail fanatics gather to shoot their standard "wedge shots" of various units & other equipment (we have also documented the documenteurs)). given this, it's no surprise to discover many similar shots in our own piles of material. when we consider which images we have used for various public purposes, images such as these were always on the low end of the scale of intrigue. we are to assume these are his good shots? if this is true, then this is indeed a sad case.
i have a hard time even coming up with a lowkey enough vocabulary to respond to the rest of the stuff: Vera Frenkel's installation reeks of selfimportance & pestilential poignancy (i've nothing against poignancy but i do not have any sympathy for those who go to such great lengths to try to attain it), an overblown mismanagement of every medium she dabbles in. Murray Favro's construction was a cheesy bit of obviousness (& the photographer who shot it for the catalogue, like a true puppet, shot it straight!). o, gad, it was all so subjective & meaningful & academically correct & buffered by the sophists' statements (whoops, "artists' statements") in that horrendous catalogue of the show just in case the philistines were too much like Uncle Slug & incapable of "getting" just how sophisticated it all is.
[continue to part 3]
I was just exploring this shot in CMYK, short for Cyan (blue) - Magenta (red) - Yellow - Black (the key plate or keyline color) and pronounced as separate letters.
CMYK is a color model in which all colors are described as a mixture of these four process colors. Its is the standard color model used in offset printing for full-color documents. Because such printing uses inks of these four basic colors, it is often called four-color printing.
The four inks are placed on the paper in layers of dots that combine to create the illusion of many more colors..
Fleischmann edition. Good grief, this took me all evening, but I felt like making it a real learning experience; the “no visible contrast” but “transitional” parameters made me wonder, what would a Fleischmann-y italic look like that was designed for small sizes, had no contrast, and no balls? This is what I came up with. (That “k” is a bit dubious perhaps.) The Fleischmann material is not all from memory, I looked at DTL Fleischmann (PDF) for reference.
TypeCooker «experienced» recipe:
width: narrow
weight: book
construction: italic + capitals
stroke endings: a serif*
ascender: much shorter than normal
descender: shorter than normal
contrast type: transitional
contrast amount: no visible contrast
stems: slightly concave
intended application: smooth offset printing
intended size: use very small
special: must contain at least 2 ligatures
(* I’m never sure whether the in-/outstrokes of italics qualify as “serifs” as per the parameter. In this case I decided they’d have to.)
enormouschampion is a Brooklyn-based design duo. Their newest project is All Good Living Kids, a partnership with the online eco-retailer All Good Living.
The Rainbow Box, by Designer/illustrator Norman Laliberté and author Joseph Pintauro.
This product is in mint condition, with possible exception of box itself which is still amazing, but with a sticker pull and hard to notice edge wear, but barely worn at all. Interior, books and poster appear brand new.
Produced in limited edition of 15,000, this consists of the box itself, four books—A Box of Sun, The Peace Box, The Rabbit Box and The Magic Box plus “The Peace Poster”, which says "Make the World Attractive to the Rest of the Universe" - which honors in art and poetry the four seasons plus the times of life. The idea was to present these four different subjects in individual books that were then put together in as colorful and as exciting a manner as the books themselves were. The concept of the cube represented the multifaceted views of time and life as presented within the books. To produce so many pages of color in a special package at a minimal price required the integration of the efforts of the poet, the artist and the printer to get maximum benefit at minimal dollar cost.
Special Features: The box itself was manufactured by The Box Shop, New Haven, Connecticut, who also assembled the pieces into the cubes and manufactured the color space interiors.
Credits
Designer/illustrator: Norman Laliberté
Author: Joseph Pintauro
Size: 4 books, each 6 x 6 inches, plus poster, in 6.5 inch cube box
Pages: 96 pages each book
Quantity printed: edition of 15,000
Price: $15.95
Typeface: various faces and handlettered
Typesetter: Norman Laliberté
Printer: Offset Reproductions, Inc.
Printing method: offset
Papers: Hooper Sunray Opaque Vellum, 70 lb., Ivory , (1 book, The Rabbit Box); Warren Patina II, 80 lb., White, (other 3 books); poster on Hopper Offset Antique White\, 70 lb.
Paper supplies: Bulkley Dunton Linde Lathrop, Inc. , Lindenmeyr Paper Corporation
Binder: A. Horowitz & Son.
Binding materials: bound in preprinted Permalin Crash White on 80 pt. pasted boards
Binding method: Smythe-sewn, flat-back with board stiffener
Endpapers: Canfield Colortext Ebony, Yellow and Light Blue plus one printed endlining on Curtis Stoneridge Text Ivory
Publisher: Harper & Row, Publishers (New York, New York)
NYC's OPEN Design makes fabulous work. Add the Scout Book to that roster, ladies and gentlemen.
This Scout Book was designed by Open for the US Initiative. The Us Initiative is a part of the urban re-invention projects organized by CEO's for Cities.
Open is an independent design studio in New York. They work on everything from identity systems, print, motion and web.
The US Initiative is spearheaded by CEO's for Cities. It is a national initiative to 'redefine the American Dream' by using the talents of the large percentage of people living in cities to improve life for everyone.
LADISLAV SUTNAR P-NY
DESIGN IN ACTION
Iva Janakova-Knobloch & collective
The versatile talent of Ladislav Sutnar (1897-1976) made him a pioneer in modern graphic design. Inspired by the Bauhaus school, he also lent truly modern design to articles of everyday use. The book presents the most coherent overview of Sutnar’s work with essays by Steven Heller and Paul Makovsky.
ENGLISH edition, 392 pages
Hardcover 215 × 295 mm, 8.5 × 11.6 in
Beautiful coulour reproductions
High quality offset printing
Texts: S. Heller, J. Rous, T. Vlček, P. Makovsky
Graphic design: Petr Babak, Tomas Machek
Co-Published by UPM
FRANÇAIS
Le talent polyvalent de Ladislav Sutnar (1897-1976) fait de lui un pionnier dans la conception graphique moderne. Inspiré par l'école du Bauhaus, il a dessiné et réalisé des objets de la vie de tous les jours. Le livre présente un aperçu le plus cohérent du travail de Sutnar, agrémenté d'essais de Steven Heller et Paul Makovsky.
ESPAÑOL
La versatilidad de Ladislav Sutnar (1897 - 1976) le convirtió en un pionero del diseño gráfico moderno. Inspirado por la Bahaus, incorporó una estética moderna a los objetos de la vida cotidiana. El libro presenta una visión de conjunto muy coherente sobre el trabajo de Ladislav reforzada por las disertaciones de Steven Heller y Paul Makovsky.
ČESKY
Anglické vydání monografie o životě a díle Ladislava Sutnara (1897-1976). Jeho česká tvorba je mezinárodně uznávána a reprezentovala české umění na důležitých zahraničních výstavách. Všestranný výtvarný i organizační talent z něj dělá průkopníka moderního grafického a produktového designu.
DEUTSCH
Englische Ausgabe einer Monographie über das Leben und Werk von Ladislav Sutnar (1897-1976). Seine tschechische Arbeit ist international anerkannt. Sein vielseitiges Talent machen ihn zu einem Pionier des modernen Grafik- und Produktdesigns.
EDITION LIDU | Art Books Publisher
Order our books at:
© 2011, edition lidu and respective authors. All rights reserved.
Soup Design Lab is "Soup Design Lab - a mixture of ingredients that blend together to create brands that captivate and stand out from the crowd." Find their work here: www.soupdesignlab.com
The Rainbow Box, by Designer/illustrator Norman Laliberté and author Joseph Pintauro.
This product is in mint condition, with possible exception of box itself which is still amazing, but with a sticker pull and hard to notice edge wear, but barely worn at all. Interior, books and poster appear brand new.
Produced in limited edition of 15,000, this consists of the box itself, four books—A Box of Sun, The Peace Box, The Rabbit Box and The Magic Box plus “The Peace Poster”, which says "Make the World Attractive to the Rest of the Universe" - which honors in art and poetry the four seasons plus the times of life. The idea was to present these four different subjects in individual books that were then put together in as colorful and as exciting a manner as the books themselves were. The concept of the cube represented the multifaceted views of time and life as presented within the books. To produce so many pages of color in a special package at a minimal price required the integration of the efforts of the poet, the artist and the printer to get maximum benefit at minimal dollar cost.
Special Features: The box itself was manufactured by The Box Shop, New Haven, Connecticut, who also assembled the pieces into the cubes and manufactured the color space interiors.
Credits
Designer/illustrator: Norman Laliberté
Author: Joseph Pintauro
Size: 4 books, each 6 x 6 inches, plus poster, in 6.5 inch cube box
Pages: 96 pages each book
Quantity printed: edition of 15,000
Price: $15.95
Typeface: various faces and handlettered
Typesetter: Norman Laliberté
Printer: Offset Reproductions, Inc.
Printing method: offset
Papers: Hooper Sunray Opaque Vellum, 70 lb., Ivory , (1 book, The Rabbit Box); Warren Patina II, 80 lb., White, (other 3 books); poster on Hopper Offset Antique White\, 70 lb.
Paper supplies: Bulkley Dunton Linde Lathrop, Inc. , Lindenmeyr Paper Corporation
Binder: A. Horowitz & Son.
Binding materials: bound in preprinted Permalin Crash White on 80 pt. pasted boards
Binding method: Smythe-sewn, flat-back with board stiffener
Endpapers: Canfield Colortext Ebony, Yellow and Light Blue plus one printed endlining on Curtis Stoneridge Text Ivory
Publisher: Harper & Row, Publishers (New York, New York)
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
A sleek, two-sided custom menu design for NW Portland's Foot Bar Body Bar and their breadth of offerings for tired urban feet and bodies!
LADISLAV SUTNAR P-NY
DESIGN IN ACTION
Iva Janakova-Knobloch & collective
The versatile talent of Ladislav Sutnar (1897-1976) made him a pioneer in modern graphic design. Inspired by the Bauhaus school, he also lent truly modern design to articles of everyday use. The book presents the most coherent overview of Sutnar’s work with essays by Steven Heller and Paul Makovsky.
ENGLISH edition, 392 pages
Hardcover 215 × 295 mm, 8.5 × 11.6 in
Beautiful coulour reproductions
High quality offset printing
Texts: S. Heller, J. Rous, T. Vlček, P. Makovsky
Graphic design: Petr Babak, Tomas Machek
Co-Published by UPM
FRANÇAIS
Le talent polyvalent de Ladislav Sutnar (1897-1976) fait de lui un pionnier dans la conception graphique moderne. Inspiré par l'école du Bauhaus, il a dessiné et réalisé des objets de la vie de tous les jours. Le livre présente un aperçu le plus cohérent du travail de Sutnar, agrémenté d'essais de Steven Heller et Paul Makovsky.
ESPAÑOL
La versatilidad de Ladislav Sutnar (1897 - 1976) le convirtió en un pionero del diseño gráfico moderno. Inspirado por la Bahaus, incorporó una estética moderna a los objetos de la vida cotidiana. El libro presenta una visión de conjunto muy coherente sobre el trabajo de Ladislav reforzada por las disertaciones de Steven Heller y Paul Makovsky.
ČESKY
Anglické vydání monografie o životě a díle Ladislava Sutnara (1897-1976). Jeho česká tvorba je mezinárodně uznávána a reprezentovala české umění na důležitých zahraničních výstavách. Všestranný výtvarný i organizační talent z něj dělá průkopníka moderního grafického a produktového designu.
DEUTSCH
Englische Ausgabe einer Monographie über das Leben und Werk von Ladislav Sutnar (1897-1976). Seine tschechische Arbeit ist international anerkannt. Sein vielseitiges Talent machen ihn zu einem Pionier des modernen Grafik- und Produktdesigns.
EDITION LIDU | Art Books Publisher
Order our books at:
© 2011, edition lidu and respective authors. All rights reserved.
Every day this week, we'll share a new Scout Book filled with creative goodness from the members of Chicago collective The Post Family. Awesome!
+ + +
Chad Kouri loves paper. I might go so far as to call him The Collage Master. His work incorporates vintage ephemera, letterpress printing and found objects, which makes for a body of work that is at once tangible, nostalgic and visually spectacular. Find a bursting portfolio of Chad's work online at Long Live Analog, much of which lives happily in the interesting realm of digital-meets-analog. Geek out over projects such as his papercut desktop wallpaper for Kistune Noir, or his iPhone cases wrapped in digitized artwork of hand-cut vintage graph paper. Whoa.
Chad's Scout Book boasts a fantastic touch-and-feel, cut-and-paste quality. It makes me want to touch my computer screen.
Lorena Siminovich of Petit Collage so kindly answered a few questions for us over on our blog, CoinOp!
Check out Petit Collage as Pinball's latest Designer Highlight.
Also head over to Petit Collage's flickr stream to see new work!
Snakes, beetles, flowers, potted plants, snails—oh my! We're so stoked about these earthy Notebooks by Perrin.
Buy them! Just $10 in our Bookstore:
by David Hlynsky.
Toronto, Image Nation, 1981. [2ooo copies] issued as IN 143.
5-7/8 x 4, colour offset postcard.
a photograph. Image Nation was one of the most progressive photography magazines around during the 197os & early'8os, vigorously pursuing what possibilities photography offered not just in terms of content but, through its production at Coach House Press & the involvement of a crew including Hlynsky, Stan Bevington, Rick/Simon & Michael Sowdon, also in developing the interface between the random grain of photography & the varied halftone screens used in offset printing, ultimately coming to skipping the negative entirely & shooting directly onto offset plates & setting new standards for the printing of photography worldwide. the postcard series began its numbering system at 1oo.
5.oo
From the creator of 33 Bottles of Beer and 33 Bottles of Wine comes 33 Cups of Coffee. And none too soon as the Winter months are in full swing! Nothing comes close to a piping hot cup of coffee when it's chilly out.
In true 33 Books fashion, this journal comes complete with a flavor wheel, demystifier, and of course, a little something in the ink! That’s right, a few drops of coffee were added to the ink during the printing of this book.
So head over to your favorite coffee shop or brew some up at home and start your coffee-tasting journey with 33 Cups of Coffee in hand!
LADISLAV SUTNAR P-NY
DESIGN IN ACTION
Iva Janakova-Knobloch & collective
The versatile talent of Ladislav Sutnar (1897-1976) made him a pioneer in modern graphic design. Inspired by the Bauhaus school, he also lent truly modern design to articles of everyday use. The book presents the most coherent overview of Sutnar’s work with essays by Steven Heller and Paul Makovsky.
ENGLISH edition, 392 pages
Hardcover 215 × 295 mm, 8.5 × 11.6 in
Beautiful coulour reproductions
High quality offset printing
Texts: S. Heller, J. Rous, T. Vlček, P. Makovsky
Graphic design: Petr Babak, Tomas Machek
Co-Published by UPM
FRANÇAIS
Le talent polyvalent de Ladislav Sutnar (1897-1976) fait de lui un pionnier dans la conception graphique moderne. Inspiré par l'école du Bauhaus, il a dessiné et réalisé des objets de la vie de tous les jours. Le livre présente un aperçu le plus cohérent du travail de Sutnar, agrémenté d'essais de Steven Heller et Paul Makovsky.
ESPAÑOL
La versatilidad de Ladislav Sutnar (1897 - 1976) le convirtió en un pionero del diseño gráfico moderno. Inspirado por la Bahaus, incorporó una estética moderna a los objetos de la vida cotidiana. El libro presenta una visión de conjunto muy coherente sobre el trabajo de Ladislav reforzada por las disertaciones de Steven Heller y Paul Makovsky.
ČESKY
Anglické vydání monografie o životě a díle Ladislava Sutnara (1897-1976). Jeho česká tvorba je mezinárodně uznávána a reprezentovala české umění na důležitých zahraničních výstavách. Všestranný výtvarný i organizační talent z něj dělá průkopníka moderního grafického a produktového designu.
DEUTSCH
Englische Ausgabe einer Monographie über das Leben und Werk von Ladislav Sutnar (1897-1976). Seine tschechische Arbeit ist international anerkannt. Sein vielseitiges Talent machen ihn zu einem Pionier des modernen Grafik- und Produktdesigns.
EDITION LIDU | Art Books Publisher
Order our books at:
© 2011, edition lidu and respective authors. All rights reserved.
18 x 24 print of No.7 for sale at ericfreitas.com.
The final invested time came to around 1000 hours. The piece weighs over 100 lbs, and put quite a dent in my bank account. Sometimes it was tough to keep going on this one. When you're all by yourself, working really hard on something in an almost obsessive way, you can start to doubt your sanity. Now that It's done my sanity, the expense, the acceptance of the design or the sellability of the piece are irrelevant. It's a huge personal success for me to see a project like this to the end, and I'm happy to have it in my house.
Trust me when I say that there isn't a photo possible that can replace the experience of visually exploring this one. I've taken a handful of shots, but there's details, inside and out, that some people may never notice. The element of this clock that really made my arm work, and really stole the hours away, was the plates. I've never (and may never again) carved up metal that thick before, and I've never poured that much contouring per-square-inch into a surface before. It was a lot of grinding, but the result is a frame that has the accuracy of machining, with the free formed contouring of a casting. On top of that, I discovered a new element during the creation process that I really like, and will use again in future pieces. It's the clusters of screws, accumulating in almost barnacle-like fashion throughout the frame. It really adds detail, and texture to the surface; and it contributes to blurring the line between organic repetition and mechanical repetition. What I've definitely found up to this point is that the two fit very nicely together; better than expected I think. While I may make things that are more clear in form or narrative in the future, I like that the look of this one is a little more cryptic. You can't perfectly piece together a clock that once was, and it's not very logical why a given area is growing or decaying; it all just sort of happens in this strange flow of implied change.
I took the time to get a really good straight on shot of this clock so that an 18 x 24 poster could be made. I didn't want to have to enlarge the image in photoshop, because you end up with a soft image, and I wanted all of the detail in the gears to show up nice and crisp. To get the proper resolution for offset printing that size the file needs to be over 7000 pixels wide. If you own a digital camera you're most likely aware of how huge that is. I had to rent some professional equipment to pull it off, but it came out great!
A print of a full image of the clock is available in the shop on my site.
Luke Ramsey is awesome. He creates beautiful, intricate pieces of artwork that include zines, murals, paintings and prints. He also runs Islands Fold, an independent publisher and artist residency in B.C., Canada.
We ran into Luke last summer at the Portland Zine Symposium, and saw him sketching in a Scout Book! Quickly gave him another, and within weeks he had filled it up and sent us images. At long last, here is what the fantastic Luke Ramsey did with the 32 grid pages of a Scout Book.
Awesome! Thanks, Luke.
Photographer - Paul Sherwood paul@sherwood.ie 087 230 9096.Irish Printer Awards, Crowne Plaza Hotel, Santry. November 2018.8.Sheetfed Colour Offset Printing ( sponsored by Heidelberg) - Business Print... .Pictured James Todd, Sales Director of Heidelberg with John King, John O’Rourke and Kieran Finegan from Business Print who were awarded the Sheetfed Colour Offset Printing sponsored by Heidelberg at the 41st Annual Irish Print Awards held at Crowne Plaza Hotel,Northwood, Dublin on 30th November 2018. The black-tie gala ceremony where professionals from across the print industry celebrated the best in their industry. The 2018 Irish Print Awards aim to recognise the country’s best companies in the print and press sector....For a full list of winners go to www.irishprinter.ie/awards...For all media enquiries, please contact Kathryn Doyle, Ashville Media Telephone: 01 4322226 / 01 4322200 or email kathryn.doyle@ashvillemediagroup.com.
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group
The awesome Amy Ruppel shares her thoughts on creative practice in the latest installment of our Designer Highlight blog series! Check it out!
CZECH CUBISM 1909–1925
Jiří Švestka & Tomáš Vlček
This detailed and extensive book depicts the Czech Cubist movement. The book was originally published in 1991 in Czech and German to accompany an exhibition on Czech Cubism in Dusseldorf. The entire print run sold out almost immediately. Now for the first time the book is available in English.
ENGLISH edition
Hardcover 255 × 310 mm, 10 x 12.2 in
450 pages, 750 reproductions
High quality offset printing
Texts: J. Švestka, T. Vlček
ISBN 8023966596
Co-Published by Modernista
ENGLISH
Czech Cubism was born around 1910 in Prague when a group of young avant-garde designers transferred the Cubist principles of the paintings of Braque and Picasso to architecture, furniture and decorative objects. The Czech Cubist movement is seen as one of the main influences on the modernist style that emerged in the 1920s.
FRANÇAIS
Le cubisme tchèque est né vers 1910 à Prague, quand un groupe de jeunes avant-gardistes a transféré les principes cubistes de la peinture de Braque et de Picasso à des objets d'architecture, de mobilier et de décoration. Le mouvement cubiste tchèque est considérée comme l'une des principales influences sur le style moderniste qui a émergé dans les années 1920.
ČESKY
Český kubismus je světově unikátní umělecký styl, který vznikl v Praze na konci prvního desetiletí 20. století. Skupina mladých umělců začala aplikovat umělecké postupy kubismu francouzských malířů Picassa a Braqua v oblasti architektury a designu předmětů. Kniha Czech Cubism představuje český kubismus v celé jeho šíři.
DEUTSCH
Der tschechischer Kubismus entstand um 1910 in Prag. Eine Gruppe junger Avantgardedesignern übertrug die kubistischen Prinzipien der Malerei von Braque und Picasso auf die Architektur, auf Möbel und dekorative Gegenstände. Das Buch präsentiert den tschechischen Kubismus in seiner ganzen Vielfältigkeit.
EDITION LIDU | Art Books Publisher
Order our books at:
© 2011, edition lidu and respective authors. All rights reserved.
Show Cards printed by Print Pinball.
More details in our Project Gallery.
Los Angeles is the opposite of our old metropolises. The sprawling multi-dimensionality is alien, and for many, gets on our nerves: the tangled network of highways and the constant driving around, the emphasized nonchalance and never ending optimism of everyone, the sunny weather, the ingenious modernist architecture, the film industry, the tourists and the shitty art museums ... perhaps, just perhaps everything about this city gets on our nerves. Despite, or maybe because of all of this, L.A. is a fucking awesome city, both in the Biblical sense and the slang sense. This staggering awesomeness is fucking undeniable!
The Slanted team wanted to meet Ed Ruscha to talk about his mysteriously seductive and motionless-looking reductive paintings. Unfortunately it didn’t work out, but his piece “Hollywood is a verb” inspired the three different titles/cover variations of this issue. They would also have liked to see David Hockney, who fled the austerity and gray oppression of England (an early Brexit) to Los Angeles to discover a sunny and hedonistic city. No dice there, either. But hey!, in a town like L.A. and on a production like Slanted’s, not everything has to work out. Often, the best things happen when they’re not planned, just as they did here.
They hung out with the wonderful actor Udo Kier and learned a lot about Hollywood and his life. They spent a superb evening with Sarah Lorenzen and her husband, photographer David Hartwell, who meticulously restored the Neutra VDL Studio and Residences, the home of architect Richard Neutra, and a number of other luminaries.
Illustrations, interviews, essays, and a huge appendix with many useful tips and the best Californian typefaces complement the issue thematically.
Slanted Magazine #35—L.A. comes along with contributions by Abstract Office, Another Human, Benjamin Critton Art Department, Caleb Boyles, Brand New School, BUCK, Burning Settlers Cabin, Kat Catmur, Counterspace, ELLA, Emigre, Raymundo T. Reynoso a.k.a. Eyeone, Ed Fella, Folder Studio, Forth + Back, Jens Gehlhaar, Shawn Ghassemitari, Ella Gold, Denise Gonzales Crisp, Green Dragon Office, Escher GuneWardena, Jamal Gunn Becker, Happening Studio, David Hartwell, Headline Records, Hennessey + Ingalls, Inventory Form & Content, Bijou Karman, David Karwan, Mr. Keedy, Udo Kier, Kevin Kim, Knowledge Design Lab, Lux Typographic + Design, LSD, Ian Lynam, MCKL, Maria Menshikova, National Forest, Kali Nikitas, nohawk, Hyu Oh, OH no Type Co., OOG Creative, Ara Oshagan, Hrant H. Papazian, Alex Pines, poly-mode, Robo, Zack Rosebrugh, Brian Roettinger, SEEN, Justin Hunt Sloane, Some All None, Still Room, Stink Studios, Studio BLDG, Daniel Sulzberg, Gail Swanlund, TOLO Architecture, Use All Five, Dameon Waggoner, Jiaqi Wang, and Yours Truly Creative.
Slanted Magazine #35—L.A.
Publisher: Slanted Publishers
Release: May 2020
Volume: 256 pages
Format: 16 × 24 × 2 cm
Language: English
Offset Printing: Stober
Silkscreen Printing: Seismografics
Paper: PERGRAPHICA® by Mondi Group