Hello, and welcome to this week’s Design Diary, a collection of five projects from across the world that have impressed us this week.
Who can resist a whopping compendium of superb type? Certainly not us. Slanted Publishers has just launched its Yearbook of Type III, an independent selection of new digital typefaces from around the globe, including those “from larger publishers to smaller, independent typographers and foundries,” we’re told. The book serves as both a catalog and reference guide, for those in the market for type, inspiration-seekers, or window shoppers alike. It’s also accompanied with a handy microsite which provides links to the type or foundry’s website. The cover’s blummin’ lovely to boot: I personally can’t get enough of that shiny blue/black/pink combo.
Heck, I know so little about football/soccer that I didn’t even realize it had a beach variety. What a nice welcome to the sport here, though, in the shape of Code Switch’s Beach Soccer Czech Republic logo and identity design. “I knew I wanted to stay away from the overused motifs of palm trees, sun, ocean, and a silhouette of a beach soccer player doing the signature bicycle kick (or ‘scissors’ kick as it is known in Czech),” says Code Switch designer and creative director Jan Šabach. “This visual language wouldn’t feel believable and authentic in the Czech (a landlocked country) environment and it wouldn’t stand out among all the other world beach soccer clubs.”
So, he decided to focus on the “fun” of the world of beach soccer: “the game, the music, the cheerleaders, the whole beach atmosphere.” As such, he created a playful animated typographic logo, and a typographic system in which letters themselves act as soccer players, kicking the character ‘O.’
Back in March, we covered the superb exhibition Nope to Hope: The Power of Graphics in Politics + Protest, conceived by GraphicDesign&’s Lucienne Roberts and David Shaw, with Rebecca Wright (they also created the exhibition graphics). Now, GraphicDesign& has published a brilliant little book that accompanies the show. The book includes more than 145 examples of how graphic design and politics are inextricably linked, “all selected to demonstrate the role of graphic design in influencing opinion, provoking debate and energizing activism during one of the most politically charged decades in recent history,” says the studio.
Such examples include graphics around events including the financial crisis, Barak Obama’s presidency, Brexit and the Arab Spring, to movements such as Occupy, Pride, and Black Lives Matter. Contributors include Gorilla, Edel Rodriguez, Noortje von Eskelen, Metahaven, North, Marwan Shahin, Jonathan Barnbrook, Michael Bierut, and TEMPLO.
“Hope to Nope foregrounds how, as traditional media rubs shoulders with the hashtag and the meme, the influence and impact of graphic design has never been greater, shaping movements as well as being the medium for their messages,” says GraphicDesign&.
In a sort of design industry-focused take on Brian Eno’s Oblique Strategies cards, Alejandro Masferrer has created Triggers, a set of brainstorming cards co-created with creatives from Saatchi & Saatchi, Vice, Hey Studio, Fjord, and more. The cards present a series of “what if” questions, “designed to open paths and keep ideas flowing,” he says.
The first decks (Essential, User-Centric, Innovation and Serendipity) launched in June 2016 on Kickstarter and have since been used by teams at agencies including Designit, Fjord, McCann, Ogilvy, and DDB. Now, Masferrer as launched four new decks, all redesigned with a new “improved” look and in a larger size in the shape of the Brand Strategy, Graphic, Storytelling, and The Business Design decks.
Danne Ojeda, of Netherlands and Singapore-based studio d-file recently got in touch with a fascinating book series, Vanitas. The series is a contemporary interpretation of Vanitas still life Dutch paintings, and “makes literal the allegory of a book as a portrait of its author’s inner matter.” How? Well, the book itself is an anatomical representation of the author’s skull and brain, created using clinical technology of Magnetic Resonance Imaging (MRI). The size of the book follows the skull size, for instance.
“I want the audience to get lost in the equation where the anatomy of the book is the anatomy of the author’s mind as a sort of game of mirrors that distort life into still life, or small sequences of death,” Ojeda told Steven Heller in PRINT Magazine.
“Another goal would be related to an unorthodox perception, treatment, and reading of books… Vanitas might be seen as a conceptual proposition: an idea-book on book definition, writing, designing, and making.”