So did you know Dali designed the Chupa Chups Logo?
Chupa Chups logo (1969)
“In 1969 Dali was approached by Spanish confectioners Chupa Chups to design a new logo, and the result became as instantly recognisable as his melting clocks. Dali incorporated the Chupa Chups name into a brightly coloured daisy shape. Always keenly aware of branding, Dali suggested the logo be placed on top of the lolly instead of the side so that it could always be seen intact.
Eye-catching, bold and deceptively simple, the logo has been barley changed since Dali created it.”
(Source: jacobpover)
Page 1: Great Expectations is an unusual typographic experiment designed to explore the relationship between graphic design, typography and the reading of a page.
Crafted to engage the culturally curious, Page 1: Great Expectations collects the responses of 70 international graphic designers when posed with the same brief – to design and lay out the first page of Great Expectations by Charles Dickens, a text chosen in part because it directly references lettering as Pip searches for clues about his family from the letterforms inscribed on their tombstone. The brief encouraged the 70 contributors to explore, challenge or celebrate the conventions of book typography. Each layout is accompanied by a short rationale explaining the designer’s decision-making process.
Page 1 is not just a book for graphic designers, it reveals the power typography has to influence and affect the way we all interpret a text. Many readers will be surprised by the attention to detail and level of engagement with the narrative on display, and aficionados of Dickens will be charmed by the idiosyncratic approaches to this much-loved text.
Contributors include: A Practice for Everyday Life, Phil Baines, Cartlidge Levene, Tony Chambers / Wallpaper*, William Drenttel and Jessica Helfand / Winterhouse, Experimental Jetset, Fraser Muggeridge studio, KarlssonWilker, Spin, Studio Frith, Robin Kinross, Ellen Lupton, Luke Hayman / Pentagram, Morag Myerscough, Erik Spiekermann, Sam Winston and Professor Robert Patten, Scholar in Residence at the Charles Dickens Museum, London, and Lynette S Autrey Professor in Humanities at Rice University, Texas.
Another recent purchase from occasional papers.
The book features a comprehensive selection of writings by renowned graphic designer, graphic design theorist and historian Richard Hollis, including interviews, essays, letters, articles, lectures and course outlines. About Graphic Design is densely illustrated with over 500 thumbnail images.
Edited by Richard HollisDesigned by Richard Hollis with Pedro Cid Proença
B5, 304 pages, soft cover, black and whiteSupported by Cassochrome and MunkenISBN 978-0-9569623-1-7
http://observatory.designobserver.com/feature/the-enduring-influence-of-richard-hollis/33398/
Too much love for Ben Bos.
Studied at the Amsterdam Graphic College and Rietveld Academy with Wim Crouwel (1955-62). Worked for Ahrend, first as a copywriter, later as their art director. Within Total Design and 2D3D and finally as a freelancer, Ben was a designer/consultant for that firm for 50 years. Last job: creating their in-house museum. He was the first employee of Total Design in 1963, and became a creative director; he left TD after 28 years. He specialized in corporate identity. Major clients: Randstad Employment Agency (1966-97), Furness Logistics Group (1968-94), Belgian General Bank.
(Source: geheugenvannederland.nl)
subtitles not included
An old favourite, Janice Kerbel.
Janice Kerbel works with a range of materials, including drawing, text, audio and print, to explore the indefinite space between reality and fiction, and between abstraction and representation. Her work frequently involves extensive research, and takes the forms of plans, proposals, scripts or announcements for imaginative scenarios that cannot or will not actually happen. In conveying these imagined events, Kerbel draws upon the potentiality of language and text.
(Images taken from http://www.galerie-guenther-borgmann.de/)
Taken from Stephenson Blake specimen book 1950.
Granby is one of the foundries most well known designs, new to me were these beautiful printers ornaments to compliment the typeface.
http://www.eyemagazine.com/feature.php?id=126&fid=554
http://www.fontshop.com/fonts/designer/stephenson_blake/
Organizing graphic design exhibitions is always problematic: graphic design does not exist in a vacuum, and the walls of the exhibition space effectively isolate the work of design from the real world. Placing a book, a music album, or a poster in a gallery removes it from the cultural, commercial, and historical context without which the work cannot be understood. The entire raison d’être of the work is lost as a side effect of losing the context of the work, and the result is frozen appearance stripped of meaning, liveliness and dynamism of use. In spite of this, it is more and more common to see design as ‘object’, not only in books and magazines, but also in the ‘white cube’ of the exhibition space.
— Peter Biľak
Taken from the essay accompanying the exhibition Graphic Design in the White Cube, Brno, 2006.
(via readingforms)
