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.
The lovely folk at Glasgow studio O Street have created a new font and flexible identity for music platform Last.fm; it’s a digital feel for a digital brand. The system for using images is reminiscent of early net art, combined with a single color overlay and type that feels at once retro and futuristic. “We ended up using sound waves as a starting point and creating a template system to apply a stylized line treatment across any kind of content they’re using,” says O Street. “Last.fm is all about data and music, using this aspect as a starting point enabled us to create a unique aesthetic that really brings the images into the digital data sphere.” Watch the cute animated walk-through of the whole approach.
Work by photographers including Barbara Kruger, Robert Heineken, Louise Lawler, and Richard Prince is being shown at a new show at Skarstedt gallery called Double Take, running until late April. The exhibition explores ideas around appropriation in photography from the 1960’s to the present day, showing how it’s not just in 21st century digital wizardry that images are manipulated to create new false realities.
Haunting, murky smudges of grey are the order of the day in a new artist book from German artist Gerhard Richter, who also designed the whole thing himself. Published by Heni Publishing, 40 Tage is one of a large number of artist books created by Richter since 1966 and shows a series of 40 graphite-on-paper drawings, created between May and September 2015. It looks blummin’ lovely, and there’s only 800 copies–so if you want all these 40 pages for yourself it’s best to get on it pronto.
Billed as an “ode to love for design, love for each other and, of course, mothers,” creative agency Mother has unveiled a new website. It’s a very snazzy thing indeed, with some slick moving image work (including some for us lucky punks over here at AIGA), always returning to a cute beating monochrome heart image. Among the projects the new site shows off are work for clients including Nike, New York Fashion Week, Zaha Hadid, Target, Wired magazine, and Sundance Film Festival.
The charming folk over at London agency Studio Contents have launched a new music-based initiative called Various Artists, which invites creatives across disciplines including graphic design, illustration, digital design, animation, typography, and photography to create and discuss their own playlists and mixes. So far they’ve assembled choonz from the likes of StudioDBD’s Dave Sedgwick, Instruct Studio creative director John Owens, and Trove art director Hannah Tomlinson, who’s impressively married the work of Stevie Nicks, Brian Eno, and Max Richter’s Sleep album. Well played, Hannah; well played.
The Ends of Collage? Say it ain’t so! I’m a massive fan of collage, so to even consider an “end” to it would be terribly painful. Thankfully, that’s not exactly what a show at Luxembourg & Dayan in New York is suggesting. Instead, the title aims to offer new perspectives around the medium of everyone’s favourite cut ’n’ paste format, showing “some of the technical preconditions of collage (variety of cuts, masks and windows, image manipulations, and the notion of ‘edge’),” according to the gallery. The exhibition title “refers both literally and metaphorically to the place where collage fulfils its calling—at the ends or edges of pictures and fragments, where separate worlds come together or break apart from one another. But it also suggests a historical paradigm, where collage is considered as a medium that existed in the so called ‘age of mechanical reproduction’ and has now been overcome by the new logic of the digital age.” Phew, what a relief.
Artist Mat Collishaw has moved into the virtual realm, creating his first VR work Threshold, to be installed at London’s Somerset House in May. The piece restages the first-ever exhibition of photography, William Henry Talbot’s 1839 presentation of photographic prints. The piece forms part of the huge Photo London fair at the site, and it sounds like Collishaw is pretty excited about it all. “VR’s ability to enable visitors to revisit the birth of photography—a medium that has come to saturate our lives—is uncanny and compelling,” he says. “It’s also quite appropriate as VR is a total 360 degree immersion of the viewer within an image, and is itself one of the many innovations spawned by the invention of photography.”