Through a mix of archival and current footage, this lovely documentary puts Milton Glaser's iconic I ❤ NY logo in historical context. Read the rest
While these guns, knives, and bombs look deliciously real, they are in fact masterful digital art confections by artist Cristian Girotto. Let's hope a candymaker gets inspired! Read the rest
knt.remembr is a pretty great track from Knxwledge, but man, what I would give to have that wallpaper! Update: thanks to Deb Chachra for identifying the source: Dan Funderburgh's "Vigilant Floral".) (via Dark Roasted Blend) (Hi rez)
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The City of Los Angeles posted on Facebook -- with this awesome ad -- that they are hiring for a Graphic Designer, sorry, "Graphics Designer." Applicants clearly must know MS Paint inside and out.
Thanks, Heathervescent! Read the rest
Standards Manual is one of the greatest recent projects in archival graphic design. Jesse Reed and Hamish Smyth painstakingly recreate notable graphics standards manuals from NASA, the EPA, the American Bicentennial, and the New York Transit Authority. Next up is Identity: Chermayeff & Geismar & Haviv, an overview of the iconic design firm behind many logos still in use today. Read the rest
The textures in this series of letterpress mockups by Hydro74 (aka Joshua Smith) are almost tangible. Read the rest
If an artificial intelligence reviewed your favorite logo, how would that logo fare? now you can find out with Logo Rank, a nifty tool by the guy behind Brandmark. Read the rest
Ben Barrett-Forrest created The Design Deck, a nifty set of playing cards that each have facts about graphic design on them. Read the rest
The long-awaited documentary Graphic Means just premiered at the ByDesign film festival, describing a half-century of world-changing analog-to-digital shifts in how graphic designers worked. Here's the trailer. Read the rest
The Principle of Proportional Ink is a great primer on how to avoid what Carl Bergstrom and Jevin West call "visual bullshit," like this craptacular graph above. The rule is very simple: Read the rest
Rotten Tomatoes compiled a highly subjective list of striking movie posters.
Since the Moonlight and Sausage Party posters are well-known, here are a few lesser-known posters they list. Note: poster quality and film quality do not necessarily correlate. Read the rest
"Keming" is a nickname for bad kerning, and the fine folks at F**kYeahKeming have gathered some of the world's finest examples. Lots of "flick" and "click" kerning disasters, but some novel ones, too. The veracity and provenance of these have not been verified, but as long as we want to believe they're real, that's all that matters online. Read the rest
Data visualization has its own Cake Wrecks or PhotoShop Disasters type site to mock bad examples of the craft. WTF Visualizations (viz.wtf) has answered the call. Perhaps a good name and shame campaign will finally bring clueless designers to heel. Submit your finds! Read the rest
Andrew Saladino of The Royal Ocean Film Society put together a terrific overview of Saul Bass and his contributions to title design, made especially great by relying on footage of Bass himself describing his work and philosophy. Read the rest
The University of Wollongong has kindly scanned every gorgeous issue of OZ, a psychedelic magazine from the UK, which ran from 1967 to 1973.
OZ was founded by Martin Ritchie Sharp (1942 – 2013).
[Sharp] was an Australian artist, underground cartoonist, songwriter and film-maker.
Sharp made contributions to Australian and international culture from the early 1960s, and was called Australia's foremost pop artist. His psychedelic posters of Bob Dylan, Donovan and others, rank as classics of the genre, and his covers, cartoons and illustrations were a central feature of OZ magazine, both in Australia and in London. Martin co-wrote one of Cream's best known songs, "Tales of Brave Ulysses," created the cover art for Cream's Disraeli Gears and Wheels of Fire albums, and in the 1970s became a champion of singer Tiny Tim, and of Sydney's embattled Luna Park. [Wikipedia]
OZ magazine was published in London between 1967 and 1973 under the general editorship of Richard Neville and later also Jim Anderson and Felix Dennis. Martin Sharp was initially responsible for art and graphic design. Copies of OZ can be viewed and downloaded for research purposes from this site. OZ magazine is reproduced by permission of Richard Neville.
Please be advised: This collection has been made available due to its historical and research importance. It contains explicit language and images that reflect attitudes of the era in which the material was originally published, and that some viewers may find confronting. [University of Wollongong]
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In part one of a series, the limitations of color on eighties-era computers and early game consoles like NES and Commodore 64.
Dean Vipond was asked to explain his job as a graphic designer to a class of four- and five-year-olds. Read the rest