One of the perks of being the managing editor at AIGA is spending my mornings reading design stories and calling it “work.” But not everyone gets to (or wants to) peruse RSS feeds like it’s their job. Consider this a hit list (as well as a few things you may have missed) of the most interesting things I’ve and seen, read, and watched this week. You can follow along every other day on Instagram @AIGAdesign and on Twitter @AIGAdesign.

This week I…

…gawk over the latest issue of INfluencia (one of the handsomest magazines you’ve never heard of), which fills its pages this month with design, excuse me—Le Design. As ever, the unsurprisingly excellent cover work is by AIGA Eye on Design fave Violaine et Jeremy. Maybe one day they’ll make an English-language version (or perhaps my French will graduate from l’horrible to l’acceptable) so I can actually read a copy instead of merely eyeing the cover and layout.

…try my best to understand how the new self-generating wordmark Sagmeister & Walsh designed for a tech platform called Fugue actually works: “When you import a line drawing the application automatically generates it in the same language of the logo. The user can then alter the size, speed, and density with the application to increase clarity or create specific styles of animations.” Okay, got it…kind of. It certainly is lovely to watch, though.


…am charmed by the above-and-beyond geekery dedication of type designer Peter Graabaek, who made his new font Forbury after a tool he found for measuring superellipses led him to calculate the length and degree of pretty much everything in his entire life, “including the curves of the typefaces such as Helvetica, Univers, Akzidenz Grotesk, and Neuzeit S.” in pursuit of the “exact superellipse (with the exponent of 2.5).”

…wonder if logos will trump branding this year and take back their #1 spot on the design hot list, now that the Apple watch is out. Wait, what does that have to do with anything? It’s all about the app button, people. Here, let Wolff Olins’ design director Jan Eumann explain.


…relive the best moments from the Offset design conference in Dublin, like seeing Hey Studio and graphic designer Annie Atkins (you know her work from films like The Grand Budapest Hotel), who revealed that it’s (unsurprisingly) tough for film title designers to make a living from those opening sequences alone. “People assume I do movie posters and typesetting for credits, but I couldn’t make a living doing that…my day job is making the graphics that actors engage with.” (That was just from day one; catch up on days two and three.)


…take a (YouTube) trip to innovative UK paper mill James Cropper, which is doing some crazy things in their paper lab, like making featherweight sheets that float in midair. They also create custom colors for brands, like the lovely new deep-sea blue for Wallpaper*.


…welcome back London’s graphic design-driven Kemistry Gallery, which was forced to close earlier this year due to rising rents. First up on their exhibition agenda is the ambitious-sounding “100 Years of Graphic Design.” As for the gallery’s (somewhat) tenuous future, Neville Brody “thinks the center must engage with other disciplines and tackle bigger issues like sustainability and social engagement, not fetishize the work of a bygone era. ‘I would hate to see a celebratory museum, but I would love to see a great British crafts institution helping to define the future.’” Amen to that, Nev.