Katie Kerr believes design can be more thoughtful by instigating critical research processes; more sustainable by informing aesthetics with best practice rather than trends; and more poetic by applying considered and elegant form. I caught up with this celebrated designer, publisher and craft(wo)man, on the back of her recent PANZ young designer of the year award win. Image courtesy of Xander Dixon for Enjoy Art Project Space
Catalog Press was borne of Ben Denzer’s fascination and unique design stance on books, interested in them because “they are both content and object; simultaneously sculpture and catalog, singular contained multitudes,” he tells It’s Nice That. In turn, Catalog Press’ output builds upon this stance and Ben’s overall attitude of trying “to find ways to approach the book as a physical object,”
The latest book release from Letterform Archive is Morla : Design a career-spanning monograph of leading designer and AIGA medalist Jennifer Morla. It features exquisite reproductions of her work, vital design insights, reflections on Jennifer’s 26 favorite characters from 19th and 20th-century typefaces, and behind-the-scenes stories, all brought together an astonishing print package devised by Morla herself.
Emily Gosling reviews a Graphic Design Play Book: An exploration of visual thinking by Paris-based graphic designers Sophie Cure and Aurélien Farina offers up the idea of design and play in a fun new way. The book acts as both a simple introduction to the basic principles of graphic design; and a gentle, fun way for those who already design to think about their craft in newer, simpler ways.
Since establishing Bizzarri-Rodriguez. nine years ago, Thomas and Alain have focused their practice on the book as a medium as well as the practice of typography. “It’s probably one of the most all-encompassing design exercises you can find,” explains Thomas. “Designing a book involves so much knowledge and so many different practices; it is everything except a science.” They try and learn something new every day, keeping in mind what has or hasn’t worked previously and trying out new ways of working to deliver the best possible outcomes within design.
It is no secret I am a fan of everything Jamie Murphy produces. his work is always of an outstanding quality - this month he shared photos via instagram (not yet on his website) of a recent project called 1753. “It was made in reaction to a report stating there were 1753 homeless families in Ireland in the lead up to Christmas 2018. How can a number like that hold actual weight when we can’t easily visualise it? My idea was to represent each family with a single empty page. Each spread therefore representing two families. The resulting book is eight inches thick.”
Toshi Omigari’s definitive survey of ’70s, ’80s, and early ’90s arcade video game pixel typography. Arcade Game Typography presents readers with a fascinating new world of typography: the pixel typeface. Video game designers of the ’70s, ’80s, and ’90s faced color and resolution limitations that stimulated incredible creativity. With each letter having to exist in a small pixel grid, artists began to use clever techniques to create elegant character sets within a tiny canvas.
Adrian Shaughnessy founded Unit Editions with Tony Brook and Patricia Finegan in 2009. Since then, the studio has become one of the most highly-regarded independent design-oriented publishers around, releasing books on the likes Paula Scher, Herb Lubalin, and Vaughn Oliver. Its latest title is the forthcoming What is Universal Everything, an overview of that studio’s work over the past 15 years.
Letterform Archive is a living collection which aims to tell the continuing story of design. This selection of diagrams, illustrations, models, and methods used to teach people how to make letters can be as engaging as the resulting letters themselves, unearths just a few items from the hundreds of instructional works at the Archive.
John Boardley tells of a 15th century best seller ‘a tale of illicit love and adulterous passions’ the latest article on ilovetypography.com which is sure to please all the book and print historians. “This a woodcut from the only illustrated printed edition of the fifteenth century. Printed by Pacini around 1500. Only four copies survive: three in Italy and one in the United States, held at the Metropolitan Museum of Art in New York.”