Piet Parra is a man of many talents. He designs, illustrates, and now he's in a band called Lele. (Piet provided the illustrations for the Lele track “Breakfast”). Anyone who has walked the streets of Amsterdam recently has spotted a Piet Parra, even if only from the corner of their eyes. His hand-drawn art work has graced many a flyer and poster, aswell as the occasional big brand campaign, CD covers and company logos. And let's not forget the T's of his Rockwell label. His themes and motifs have become the unique (and often imitated) trademarks of Parra's personal style: colorful letters, a world populated by hybrid humans, his 1970s retro-style drawings. And then there's this thing he has for voluptuous women. Submarinechannel called Piet up on the phone to discuss music, humor, drawing, and the meaning of his strange made-up words.
Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which celebrated its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.
You’ll see his typefaces on the Paris Métro, gracing the pages of France’s premier newspaper, Le Monde, in magazines and books; even Beyoncé uses them. He was awarded the Prix Charles Peignot for excellence in type design, was president of ATypI, designed one of the best modern-day type revivals, and…. Well, there’s so much more that can be said by way of introducing this great talent of type, but I think John D. Berry sums him up best when he writes, he is one hell of a type designer. Interview with I Love Typography.
Interview with Leta Sobierajski from a series of six profiles of young creatives who created their dream job. It’s a rare and very special thing to have a job that's the same as the one you referred to in grade school when everyone asked you what you wanted to be when you grew up. Heck, it’s rare to have the one you talked about at your college graduation party.
George is a magazine veteran, having art-directed Mother Jones, ReadyMade and Afar to name a few. He is responsible for relevant, thoughtful editorial design as well as some very compelling branding, packaging and identity work. Recently, I was able to catch up with George and find out about his past, present and future. And of course, his opinions regarding his favorite magazines.
Though often overlooked, Graphic Design surrounds us: it is the signs we read, the products we buy, and the rooms we inhabit. Graphic designers find beauty within limitations, working towards the ultimate goal of visually communicating a message. Utilizing a language of type and imagery, graphic designers try to make every aspect of our lives defined and beautiful.
Since 1984, 85, the big story in design education has been the reworking of design curriculum. There has been a movement away from two main tracks: commercial formalism and the straightforward modernist program. Post-modernism has had an effect on design curriculum. I am thinking particularly of Cranbrook, Cal Arts, and RISD, where there has been a turning away from a purely formal approach to a more literary one.
'Plazm was formed by a group of artists dissatisfied with avenues of expression available to them. Actually when we first started meeting, we didn't know were going to form a magazine. There were writers, photographers, illustrators, and designers all coming to these open-ended weekly gatherings. We were talking about things like media control and how we'd like to see artists representing artists. These discussions led to the launch of Plazm magazine.'
Sometimes, we all need some help. Emily Ruth Cohen consults with small to mid-size creative firms and in-house corporate design departments. This breadth of experience gives her insight into a wide range of issues that face creative businesses.
Like all type designers, Akira Kobayashi believes that good typography reinforces the meaning of the text. He has a background in art and calligraphy and has been a freelance type designer for 18 years. Originally from Japan, Akira is a frequent speaker at type conferences and workshops in Europe, the Americas and Asia, and he has served as a judge in prestigious international type design competitions.
Designer and programmer Jürg Lehni analyses the evolution of typographic technology and the nature of digital fonts. An essay complemented by interviews with Peter Biľak, Erik Spiekermann and Dimitri Bruni (NORM).