As an editorial resident here at AIGA, I spend my time nosing around for interesting design-related goings on each week (so you don’t have to). Follow along all day, every day on Instagram @AIGAeyeondesign, Facebook and Twitter @AIGAeyeondesign.
I’m a longtime fan of writer Bret Easton Ellis (you know him for American Psycho, but if you haven’t sampled his very intense style of podcast delivery yet, get on it, and pronto) but little did I know he’s also been dabbling in the visual arts of late, too. A new show has just opened in London exhibiting his paintings, created with artist Alex Isreal. This is Easton Ellis’ second exhibition, and the show comprises of three pairs of works that are swapped around periodically at their current home in the Gagosian gallery. The collaboration saw Easton Ellis create lines of text in his typically inward-looking style of monologue melodrama, while Isreal selected stock photography images for their backdrop. In an interesting twist, the paintings and prints were made at Hollywood’s Warner Bros. studios.
Illustration and animation duo Mrzyk & Moriceau has created a hilarious and on-point animation called Dick the Dog for MTV’s Staying Alive Foundation, which promotes safe sex. The campaign was created with Ogilvy & Mather Hong Kong, and according to the foundation, it aims to show that “sex safe doesn’t have to mean boring sex.” And who better than a dog with floppy, scrotum-like ears to remind us that “With HIV infections in young people still not decreasing, it’s more important than ever to make sure you’re being careful when you’re getting busy.”
Ingo Giezendanner, the artist known to many as GRRRR, has just released a new book with Nieves entitled Bücherwald. As with the artist’s previous work, the book presents beautiful monochrome line drawings of the urban spaces he’s visited.
Ever wondered what it’s like to be Kim Kardashian’s “personal emoji designer?” Well wonder no more! The woman who’s landed this unlikely role, Joanna Figliozzi, has revealed just how she went about designing the icons for Kardashian West’s emoji app, Kimoji. Figliozzi apparently “spent the first weeks of 2017 brainstorming words with Kim and her husband, Kanye West” for the Valentine’s spesh series of candy heart emojis for the app, which nestle alongside such multifarious images as a heart-shaped pizza, a bottle of lube, the Kama Sutra, and a set of furry red handcuffs.
Uniting a love of contemporary illustration and cinema, London-based agency Human After All has created delve, a “passion project” that sends out weekly alerts to subscribers recommending “a single movie you can’t afford to miss at the cinema.” Each Friday the missive is sent out accompanied by a newly commissioned illustrated poster for that film, and the designs created so far are shown in an online gallery, Year in Film. We especially dig the monochrome palette and simple linework of Timo Kuilder’s interpretation of Anomalisa.
A round of applause to AIGA’s own Lilly Smith for bringing these gems of matchy-matchy 1970’s fashion advertisements to our attention. They really don’t make outfits to match your trio of sheep like that anymore, and more’s the pity, we say.
Since school art classes we’ve had it drilled into us that Andy Warhol borrowed heavily from celebrity gossip culture and the world of advertising he once worked in, but not so much the influence of graphic design and comic books. London’s Halcyon Gallery is now shining the spotlight on this side of his career in the show Andy Warhol: Talking Pop, showing his graphics, portfolios and original works on paper and canvas including 1950’s commercial illustrations Love is a Pink Cake and Tattooed Woman Holding a Rose.
Adored by Tracey Emin and us here at EoD alike, the work of Egon Schiele offers a profound and sometimes distributing look at the human form. Now, his graphic work is being celebrated at Peter Harrington gallery in London in the shape of six 1914 etchings and two images drawn on stone from 1918, Portrait of Paris von Gütersloh and Girl). It’s amazing to see the power of these works and to consider them in relation to such processes, creating sinuous bodily lines and raw emotion through print.