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No. 240: David Carson’s Collages, DR.ME’s Rejected Designs, Speculative Video Game Branding + More

Plus, a squiggly riso zine all about playing music and some brilliant branding for a new lecture series on race, art, and social justice for the Baltimore Museum of Art. For more along these lines (and so many others) you can follow along all day, every day on Instagram @AIGAeyeondesignFacebook, and Twitter @AIGAeyeondesign.

New book of David Carson collages

Just off the heels of creating the artwork for the John Coltrane — 1963: New Directions box set last year, David Carson has published a full book of collage work in the same vein. Perhaps unsurprising for the designer who defined “grunge typography”—with all its splicing and layering and embrace of messiness—Carson’s new collaging is top notch. And the book itself is a high production affair, a limited edition in an open bound format, all designed by Carson. He paired up with the Spanish publisher Esther Jones and the production house Syl for that. The book also includes insights and commentary from Carson on his works and the processes behind them.


DR.ME, new issue of FIN?

“The initial idea came about after realizing my computer memory was completely full, my desktop was littered in Jpegs, Tiffs, PSD and InDesign files and I had drawers full of drawings, paintings, and bits of collage,” Ryan Doyle, one-half of DR.ME, told us last year for a piece on what to do with rejected work. He was talking of course about FIN?, the Manchester studio’s £5 PDF zine it’s been publishing every month since 2017. Filled with DR.ME’s rejected designs, the idea is that these files can downloaded by readers and reused in whatever ways they wish.

Next week will see the launch of a new issue, as well as a four day exhibition on the project at Dublin gallery Hen’s Teeth. The exhibition will feature apparel and printed ephemera, as well as the fourth printed edition of FIN? (every six months DR.ME publishes a limited edition printed version of the previous six free editions).

Daniel Savage, How Does it Go?

Something Savage, the nicely named studio of designer and animation director Daniel Savage, sent over a new zine this week that we couldn’t help but fall for. It’s fun, it’s riso, it’s full of squiggles—it’s, quite simply, an illustrated zine about playing music. How Does it Go? is best experienced in person. What a lovely piece of work.

Raid V1.0

Here’s a dream brief for you: Come up with an imaginary game and then design the logo for that game.” Yes, the game remains imaginary. No, the logo never gets used, or paid for with Big Game Money. But! They both are featured in this really lovely little magazine called Raid. Not only is the design of the publication by Simon Sweeney quite understated and striking, the contributors—those who did receive that dream brief—are many of our favorites. Cortney Cassidy, Erik Carter, Andy Pressman, Desmond Wong… we could go on and on, but best to peek the full list yourself, and see what kind of games they’ve dreamt up. There’s a friendship nurturing game, one that’s surveillance state-themed, multiple dimensions, parallel universes, and a rather poetic one called Deep Self.

The Necessity of Tomorrow(s) lecture series branding, Post Typography

And finally, a new Baltimore Museum of Art lecture series that not only sounds good, it looks great. The Necessity of Tomorrow(s) has a lineup featuring Ta-Nehisi Coates, Boots Riley, and Mark Bradford, all of whom will talk on the future of art, race, and social justice. The name comes from a Samuel R. Delany essay on the importance of speculative futures. And with Post Typography behind the visual identity, it’s got the smart, provocative branding to match.

“One of the most unusual elements of the campaign is a series of ‘interrupted’ objects where messages disrupt vernacular advertising and signage,” says the studio. “No Loitering notices, ‘We Buy Houses’ bandit signs, and takeout menus have all been interrupted with hopeful expressions of ‘Tomorrow…’as part of the Museum’s campaign.”

Pair that with the use of Torque and Queue typefaces from Baltimore foundry Type Supply, a bold color palette, and retro-futurist design elements, and we have a very striking lecture branding indeed.

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