Hello, and welcome to this week’s Design Diary, a collection of five projects from across the world that have impressed us this week.
Since Trump came to office, British-born, New York-based designer Andrew Bellamy has been running a little project called non-complicit, which takes the form of a website that counts the days he’s been president; as well as a series of designs showcased across Instagram and on printed T-shirts with the aim of raising awareness about certain issues and raising money for charities. Last year, the project centered around female empowerment, and saw T-shirt sales raise $500 for Planned Parenthood. Now, Bellamy has turned his focus on gun control.
For the site, the designer set up a simple system with Arial Bold and Courier. “The design has a punk influence in its simplicity and immediacy,” he says. “I can put the posts together anywhere, on any machine, in any program (even Word),” he says. “I then take a photo of the design on the monitor as it’s the quickest way to get the image into my phone to upload to Instagram. The texture of the monitor screen also lends a nice 1984-esque anti-aesthetic. The challenge is really to be able to post as quickly as possible and whereever I might be when news breaks.”
He adds, “The design has evolved over time and at the start it was really a case of actually getting something up rather than procrastinating in the weeds for too long and losing momentum. It’s a nice exercise in intuitive/immediate design where professional projects have to be more labored and considered. If this were too thought through or too hard to do there wouldn’t be time to post. Not posting is equal to being silent, and silence is the voice of complicity.”
The latest release from London-based publisher Palm Studios, Palm Book is a gorgeous little thing indeed, drawing together work by photographers from across the globe previously showcased on its digital platform. Curated by Palm’s founder, Lola Paprocka and designed by art director, Brian Kanagaki, there’s gorgeous imagery by Renato D’Agostin, Vittoria Gerardi, Jacob Lillis and Pani Paul, alongside those by Kanagaki and Paprocka themselves.
Turns out that, much like literally everything touted in Time Out, even rebrands can be billed as “interactive” these days. Building on its previous work with the Brooklyn Symphony Orchestra, branding agency Superunion and interactive studio HAWRAF have just revealed their new project, a design visualization tool that animates the branding elements such as the logo and glyphs in response to the symphony’s music. This is shown as live visuals at concerts, and the new imagery generated is then exported by this nifty little platform to be used across materials like posters, tickets, and programs.
Netherlands-based studio Colorado looked to the Brazilian buildings of Oscar Niemeyer as inspiration for its bold, adaptable branding for Dekmantel festival’s São Paulo edition. “The flowing graphics are challenging the recognizable shape of the already existing Dekmantel square,” says the studio. “The liquid images are paired with bold typography to keep things grounded and use a vibrant color palette for a festive, hot, and tropical atmosphere.”
The identity is used across festival site materials, such as flags, maps and signposts, and as an online campaign.
Designers often display innovative ways of showing off their work, but not once have I seen a compendium of recent projects presented as it were a coffee table book… “if the coffee table belonged to a mouse.” The rather addable little tome was created by designer and creative strategist Silas Amos, “The reason for doing it was firstly the challenge of producing a really small book of my work—technically and creatively,” he says. “I liked the exercise of trying to reduce all the thinking and work to a tiny scale that removed the luxury of lots of words or supporting images. I guess if an idea is decent it should be able to survive this stress test and not need to over explain itself.”
The book was produced in a very limited edition run of 25 copies, printed by FE Burman and bound by A14 print finishing. It showcases Amos’ core projects from the past two-and-a-half years, including collaborations with the likes of Sir Peter Blake, Supermundane, Emily Forgot, and Yinka Ilori.