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This type of art relates to my publisher work in the way I ceeate a visual lenguage.
This kind of geometric elements really call my attention, because I like the way it creates a graphic effect by using forms, and the colors to develop it.

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Geometric Letters and Logo Designs --- Custom crafted and pixel perfection Logo Designs and Letters.

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Bernd and Hilla Becher were a good reference on my collection work, because they do photos of different things at the same context, like my collection, were I did different houses numbers at the same context. I used the same grid format, attaching photos side by side.

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Thoose are some references for my collection. From the grid photos format.
Unknown artist

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At my publisher project a lot of people related my work to keith work. He wasn't a reference for me before the project but after I made it I could inpires myself on some forms and colors that he do.

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Keith Haring: Art Is for Everybody
The Walker Art Center, Minneapolis, MN
April 27, 2024 - September 8, 2024
Visit Website

remembers the life and work of Keith Haring. They interview GIL VAZQUEZ, Executive Director and President at Keith Haring Foundation in New York, one of Haring's closest friends, confidants and heir.

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Keith Haring: Art Is for Everybody The Walker Art Center, Minneapolis, MN April 27, 2024 - September 8, 2024 Visit Website remembers the life and work of Keith Haring. They interview GIL VAZQUEZ, Executive Director and President at Keith Haring Foundation in New York, one of Haring's closest friends, confidants and heir.

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Jeff Brouws

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Jeff Brouws

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A series of type images that I made to create each letter of alphabet with usual object.

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One of the pioners on graphic design, nice compositions of backgrounds, colors and objects

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Alvin Lustig was the Original Design Strategist

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From business cards to book covers to office buildings, Alvin Lustig was a one-man agency for all of your design needs…

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I like the prints on screen print and the way they mix colours and types.

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Um livro-cartaz de Gilberto Tomé

O que é?

"Ó: Caminho, Estrada, Avenida" é um livro de artista concebido e produzido por Gilberto Tomé, arquiteto e artista gráfico que vem realizando pesquisas e trabalhos sobre a transformação da paisagem paulistana.

Nesse projeto, o tema é a Avenida Santa Marina, a mais antiga via de ligação entre as regiões da Água Branca e da Freguesia do Ó, cujas origens remontam ao século XVII. Através deste exemplo, pretende-se evidenciar que muitos caminhos ancestrais compõem nossos trajetos contemporâneos pela cidade. E que eles podem nos mostrar mais paisagens do que acreditamos ver.

Chamada de "livro-cartaz", a publicação reúne imagens ampliadas em grande formato (90 x 60 cm) como cartazes, agrupadas em sequência formando um caderno sem costuras. Fotos atuais da região realizadas por Gilberto são justapostas a outras, históricas, pesquisadas por ele em acervos públicos e particulares, somando ao todo 30 imagens.

O projeto foi selecionado pela Secretaria de Estado da Cultura por meio do Programa de Ação Cultural (Proac), em edital voltado a livros de artista, sendo uma realização do Governo de São Paulo.

Lançamento e exposição: quando e onde?

O lançamento da publicação "Ó: Caminho, Estrada, Avenida" acontecerá no dia 17 de fevereiro de 2018 (sábado depois do carnaval), das 11h às 20h, na rua Carijós nº 260 (esquina com Avenida Santa Marina), em um pequeno galpão que fica ao lado da Estação Água Branca da CPTM (Linha 7 Rubi). O trabalho também será exposto dentro da estação, com as imagens coladas como cartazes ao longo das plataformas de embarque e desembarque. A exposição na Estação Água Branca, que terá o mesmo nome da publicação, permanecerá até 24 de março de 2018. A proposta de se trabalhar um livro com a linguagem do cartaz de rua implicou naturalmente nesses dois formatos de apresentação, em lugares públicos e de fácil acesso. Haverá uma programação de atividades nesse período, descrita a seguir.

Programação completa

Paralelamente à exposição "Ó: Caminho, Estrada, Avenida" que acontecerá dentro da Estação Água Branca, entre 17 de fevereiro e 24 de março de 2018, serão desenvolvidas atividades no galpão da Rua Carijós nº 260 (vizinho à estação), conforme a programação abaixo. Todas as atividades são abertas ao público, gratuitas e sem necessidade de inscrição prévia.

Lançamento do livro de artista, abertura de exposição na estação e vídeo
17 de fevereiro, sábado
* das 11h às 20h: Lançamento da publicação "Ó: Caminho, Estrada, Avenida", de Gilberto Tomé, com apresentação de fotos, desenhos e outras imagens referentes à pesquisa e desenvolvimento do projeto. Ao mesmo tempo, abre-se também uma exposição dessa publicação na estação Água Branca da CPTM, linha 7 Rubi.
* 18h: Apresentação do vídeo "Linhas e Passagens" de Lívia Escobar Gabbai, realizado a partir das Caminhadas Gráficas nº 1 e 2, que aconteceram durante o período de elaboração do projeto "Ó: Caminho, Estrada, Avenida".

Caminhada gráfica
24 de fevereiro, sábado
* das 10h às 13h: Caminhada Gráfica nº 3, com Gilberto Tomé. A "caminhada gráfica" é um percurso de aproximadamente 5 km, que vai do começo da Avenida Santa Marina até o Largo de Nossa Senhora do Ó, na Freguesia do Ó, com a intenção de desenhar e fotografar a paisagem, ou simplesmente observá-la. Durante a fase de pesquisa da publicação foram realizadas duas outras caminhadas abertas ao público com essas mesmas características.

Oficinas abertas de desenho
1, 8 e 15 de março
* das 15h às 18h: Oficinas abertas de desenho, com Gilberto Tomé - "Desenhar a rua, desenhar na rua" -, abertas ao público, sem necessidade de prévia inscrição.

Ação "Faço seu retrato (cego) se você fizer o meu"
16 de março
* a partir das 16h: ação de rua proposta por Ana Paula Francotti a qualquer pessoa que aceitar o desafio de desenhar o seu rosto, sem olhar para o papel, ao mesmo tempo em que ela desenha o rosto da pessoa, da mesma forma.

Primeira exposição de um dia
10 de março, sábado
* das 11h às 18h: "Cortes, matrizes e estampas", gravuras de Paula Escobar Gabbai - com trabalhos que se relacionam com o tema da paisagem da cidade de São Paulo.

Expedição 2X1/2 LÉGUA
(ou a forma mais difícil de se visitar uma exposição)
17 de março, sábado, a partir das 7hs
15 vagas
* Com orientação de Renato Hofer, a caminhada foi pensada como um processo de apropriação da cidade, visando estimular seus participantes para a visitação da exposição Ó: Caminho, Estrada, Avenida. Através do caminhar pretende-se levantar questões sobre a distância real e distância afetiva nas cidades, as barreiras visíveis e invisíveis que delimitam nossos percursos e o direito ao espaço público. O ponto de encontro, local de fácil acesso por transporte público, será anunciado aos participantes por e-mail no dia anterior à caminhada. Inscrições e informações: travessiaurbana@gmail.com

Segunda exposição de um dia
17 de março, sábado
* das 11h às 18h: Exposição de um dia - "Olhares outros" - com fotos, desenhos e imagens de Danilo de Paulo, Rose Steinmetz, James Conway, Paula Janovitch e Renato Hofer realizados a partir das Caminhadas Gráficas nº 1 e 2, que aconteceram durante o período de elaboração do projeto "Ó: Caminho, Estrada, Avenida";

Roda de conversa sobre projetos urbanísticos na Água Branca
e a paisagem da Freguesia do Ó
24 de março, sábado
* das 11h às 13h: roda de conversa com o arquiteto Paulo Barbosa, a respeito de projetos urbanísticos relacionados à Operação Urbana Consorciada Água Branca e com Leandro Silva, sobre a paisagem como patrimônio imaterial da Freguesia do Ó.

Contexto histórico da avenida Santa Marina

A avenida Santa Marina não é muito conhecida atualmente por ser uma avenida sem saída para trânsito de veículos. A apenas uma quadra de seu início (no bairro da Água Branca, no ponto em que também começa a movimentada Rua Guaicurus) ela é cortada pela linha 8 Diamante da CPTM, havendo aí somente uma passarela para travessia de pedestres. Mais uma quadra e logo é também cortada pela linha 7 Rubi, mas existe aí passagem de nível que permite o trânsito de pedestres e veículos, sujeito aos movimentos de sobe-desce da cancela, conforme a aproximação dos trens, avisada pelos apitos dos vigias e pelo gongo metálico típico das sinaleiras ferroviárias. Neste cruzamento se localiza também o acesso para a Estação Água Branca, que existe como parada desde a implantação da ferrovia (a antiga linha Santos-Jundiaí da São Paulo Railway) no século XIX.A origem da avenida Santa Marina está ligada à ocupação do território paulistano.

Na São Paulo seiscentista, o bandeirante Manuel Preto, tendo recebido glebas de terra a noroeste do centro da vila de Piratininga, e a pedido de sua mulher Águeda Rodrigues, ergueu ali uma capela, sobre morro mais elevado, em louvor à Nossa Senhora da Expectação. Era a origem do atual bairro da Freguesia do Ó.Inicialmente, o acesso se fazia sobretudo por barcos pelo rio Anhembi - como era então conhecido este trecho do Tietê -, mas com o tempo um caminho foi se estabelecendo, cortando a ampla e alagadiça várzea, unindo a região da Freguesia à Água Branca.

Esse primeiro eixo de ligação, considerado em sua origem como caminho de Manuel Preto, aparece nos mapeamentos da cidade no século XIX, como Estrada de Nossa Senhora do Ó. Somente em 1912, a estrada é renomeada como Avenida Santa Marina, denominação dada em homenagem à filha Marina do conselheiro Antonio Prado, presidente da Vidraria Santa Marina, fábrica que ali se instalou na última década do século XIX, em terreno vizinho à Estação Água Branca da São Paulo Railway.

Na década de 1950, sendo construída em concreto armado a nova ponte da Freguesia do Ó, a antiga ponte de madeira que situava-se no eixo da Avenida Santa Marina foi desmontada. Permanece hoje, como vestígio curioso dessa antiga ligação, a continuidade do nome da Avenida Santa Marina, tanto no bairro da Água Branca, quanto no da Freguesia do Ó, do outro lado do rio.

E, neste século XXI, mudanças importantes estão previstas para a Avenida Santa Marina: em seus subterrâneos, ao longo de seu eixo, se desenvolverá a Linha 6 Laranja do Metrô, unindo a Vila Brasilândia ao bairro da Liberdade. E as intervenções da Operação Urbana Consorciada Água Branca - plano urbanístico que propõe melhorias no sistema de circulação e mobilidade, de áreas verdes e adensamento populacional - prevê a sua ligação também subterrânea com a avenida Auro Soares de Moura Andrade.
MAIS INFORMAÇÕES
Gilberto Tomé
tome@fontedesign.com.br
whatsapp11.9.9200.7400
facebook.com/graficafabrica
instagram@graficafabrica

divulgação do evento no facebook:
https://www.facebook.com/events/1736444483083771/

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"Ó: Caminho, Estrada, Avenida" é um livro de artista concebido e produzido por Gilberto Tomé, arquiteto e artista gráfico que vem realizando pesquisas e trabalhos sobre a transformação da paisagem paulistana. Nesse projeto, o tema é a Avenida Santa Marina, a mais antiga via de ligação entre as regiões da Água Branca e da Freguesia do Ó, cujas origens remontam ao século XVII.

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Really nice work related to surf, and the way he mix sport and design.

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"a pioneer with profound impact" _Apple computers, 2014 AIGA Gold Medal, 2014

"CARSON forged graphic design into a cultural force and a medium with its own shape and direction. AIGA, 2014"

"the most important work coming out of america" american center for design

"he changed the public face of graphic design" - newsweek

"he changed the public face of graphic design" - newsweek

"One of America's most important artists...." _Smithsonian Institute magazine. March 2014

"One of America's most important artists...." _Smithsonian Institute magazine. March 2014

"the art director of the era" creative review, london

"the greatest living graphic designer.." -brain pickings

' Innovator, pioneer, groundbreaker, gamechanger
-- Carson deserves them all '--mark cameron/Fotorator

From CreativeReview Magazine,London: "David Carson was the last person whose work for a magazine shifted wider contemporary design" jan.2014

Graphic Design. Branding. Advertising. Consulting. Web, print + digital.

nucollage: "This book is a gorgeous testament to fresh design thinking, spontaneous creation and mind-melting collages and stories of the work"
-Paul Macfarlane, 2019

AIGA eye on design:
august 2019
"David Carson is a man who has transformed the field of graphic design throughout his career. Self-taught, resolutely grid-free, and unafraid to speak his mind (he's also very funny), Carson's work made designers realize that editorial layouts didn't have to stick to the rules around image placement, consistent typography, or doggedly flowing copy issue after issue.

His attitude-one he sees as partly underdog, partly "why not?"-carries through not only his most famous projects like art directing Ray Gun magazine or his work for Transworld Skateboarding, but also branding projects, surfboard designs, packaging design for potato chips, and more; making him as relevant today as ever.

It's rare to speak to a young designer who's into zines, music, and a generally less strict aesthetic, and have them not cite Carson as an influence. The American Center for Graphic Design has exalted him as having made "the most important work coming out of America," while Creative Review has called him "the art director of the era." In 2014, he was awarded the AIGA Gold Medal. But for all the praise he's received, he's rather lovely when we chat-and pretty humble to boot. He's also still really into surfing."

Jeffery Saddoris:
august 2019
"New Collages From Iconic Graphic Designer David CarsonDavid Carson has been on the leading edge of graphic design for decades and has created iconic work for some of the biggest companies and most important brands in the world. In his latest book, nu collage.001, Carson has created a new collection of collages without the constraints of clients or creative briefs and the resulting work is a brilliant evolution that straddles the line between art and design. This is Carson at his freeform best."

august 2019:
https://eyeondesign.aiga.org/anti-grid-icon-david-carson-on-why-computers-make-you-lazy-and-indie-mag-design-needs-to-liven-up/

" "Styles come and go. David's design is a language, not a style." -m. Vignelli
"a contemporary legend" Print magazine, 2016.
From CreativeReview Magazine,London: "David Carson was the last person whose work for a magazine shifted wider contemporary design" jan.2014
"CARSON forged graphic design into a cultural force and a
medium with its own shape and direction. AIGA, 2014"
'CARSON is the most googled graphic designer in history, even surpassing some well known fine artists' Eye magazine, london
"One of America's most important artists...." _Smithsonian Institute magazine. March 2014
" he changed the public face of graphic design" - newsweek
" the art director of the era" creative review london
" the most important work coming out of america" ameri-
can center for design
" the most influential graphic designer of our times"
surfrider foundation, july '09
" He significantly influenced a generation to embrace ty-
pography as an expressive medium" - steven heller 2010
" our biggest star" AIGA(american institute of graphic arts)
" the greatest living graphic designer.." -brain pickings, feb. 12, 2012..he feels the work..there's a strong element of intuition
-- and that fits because sometimes you can't describe
why his work is so beautiful." - Hillman Curtis

Graphic Design USA magazine(NYC) listed the "Most in
fluential graphic designers of the era" David was listed as
one of the top 5 most influential designers, along with
Milton Glaser, Paul Rand, Saul Bass and Massimo Vignelli.
' Innovator, pioneer, groundbreaker, gamechanger --
Carson deserves them all '--mark cameron/Fotorator may, 1, 2012

DC, april 28, 2012 : http://spiffingdesign.com/2012/spiffing-artists-..
spoke at FIT "I'll never forget when I asked David to speak at FIT and he agreed. The best way to relate is to quote what they said that when Aeschines spoke the people said, "How well he speaks"; but when Demosthenes spoke, they said, "Let us march!" Truly an inspiration and a great communicator"August 20, 2008 -Staz Tsiavos,

Albert Watson, Aldus Corporation, American Airlines, Armani, American Express, Ameritrade, AT&T, Atlanta Olympics Committee, Atlantic Records , Audi, Autobytel ,Bose, Beach Culture, Blue Magazine , Big NYC, Brand Acumen, British Airways, Bank of Montreal, Budweiser (Superbowl spot), Bush, Citibank , CNN, Cuervo Gold, Dali Museum, David Byrne, Dita watches, Eddie Bauer, Elias Associates NY, Fox TV , Gannet Outdoor, Gibbes Museum of Art in Charleston SC, Giorgio Armani , Glendale Federal, Harvard Graduate Program, Helvetica Film, Idea Magazine (Japan), Individual, Kodak , Leap Batteries (Canada), Levi's, LOFT, Lotus Software, Lucent Technologies, Laguna Beach Contemporary Art Museum, Lycra, Marshall McLuhan Estate, Magic Johnson AIDS Foundation , MCI, Meg Ryan, Mercedes Benz, Metropolis magazine , MGM Studios , Microsoft , Motrin Migarine , MTV, Nations Bank, NBC, Newsweek, Nike , Nine Inch Nails , Nissan, Omega, Packard Bell, Pepsi, PRINCE, Quiksilver , Ray Ban , Ray Gun Magazine, Ryder Trucks, Samsung, Sears, SOL Communications, Sony, Spalding, Speak magazine , Surfer's Path, Suzuki, Toyota, TwSkateboarding, twSnowboarding, UMPQUA Bank of Seattle, US West, Wallpaper Magazine, Warner Brothers,Yale university, Western Union, Xerox .

David Carson is a man who has transformed the field of graphic design throughout his career. Self-taught, resolutely grid-free, and unafraid to speak his mind (he's also very funny), Carson's work made designers realise that editorial layouts didn't have to stick to the rules around image placement, consistent typography, or doggedly flowing copy issue after issue.

His attitude-one he sees as partly underdog, partly "why not?"-carries through not only his most famous projects like art directing Ray Gun magazine or his work for Transworld Skateboarding, but also branding projects, surfboard designs, packaging design for potato chips, and more; making him as relevant today as ever.

It's rare to speak to a designer who's into zines, music, and a generally less strict aesthetic, and have them not cite Carson as an influence. The American Center for Graphic Design has exalted him as having made "the most important work coming out of America," while Creative Review has called him "the art director of the era." In 2014, he was awarded the AIGA Gold Medal. But for all the praise he's received, he's rather lovely when we chat-and pretty humble to boot. He's also still really into surfing."

-aigia/eyeondesign 2019.

david+signal_design+porsche, 2021.

poster for sale:

davids 2019 street poster for spain REC festival.

$225. signed. 3ft.x5 ft. +shipping.

PayPal only :david@dcarsondesign.com

davids new book,

davids brand new book.
nucollage
now avialble to order.
first print run are all autographed.
order here:
hulamediagroup.com

dc nu cover design for april 2019 issue of marketing tribune, nl

2019 Rec popupstore festival spain.
⁣⁣" Love this poster because we are the last two 90s designers still left standing as such, me as wishful thinking, and you for real, even if it's on one leg ! That poster is a classic of the period and every museum that has a graphic design collection should acquire one...Ed Fella

new work for john coltrane '63. 5 album boxed set. fall 2018.

global rebranding for c-skins wetsuits. 2018.

new collage work, 2018.

Zoku hotel , room art, 2018/19

lecture and exhibition posters, at Virginatech. 2018

cover for dutch magazine, volkskrant magazine. april 2018

rebranding, c-skins wetsuits, 2018.

rebranding, c-skins wetsuits, 2018.

cover for what youth magazine

puma campaign

2017 program for young creatives

cover, volkskrant magazine issue on creativity. 2018

dc work while in so, korea 2016/7

nu work, 2017.
nu surfboard collaboration with album surfbds,

wall mural in playa del rey california

Davids work for the channel islands national park is in the permanent collection of the library of congress.

david inducted into East Coast Surfing Hall of Fame, 2017.

Spain's 'tonight' show, the "late motiv" wed.feb.15, 2017. Graphic Designer on a late night talk show? David may be the first....

david's cover for The Drum magazine, march 2017.

davids cover for new nin double album. 2017. foto:dc

dc, vancouver,bc, Design Thinkers Conference, June 2017.

permanent collection, london museum of design.

National magazine, summer 2017.

David Carson named Design Director for Airborne Motors, makers of the worlds first true PAV, personal air vehicle.

click

Packaging Design, 2017.

click

2018 line (in process)

special limited edition poster designed ,screen primted+signed by DC. contact david at David@dcarsondesign.com if interested in purchase.

2014 david was selected as one of apple computers"30 most innovative users"
in their 30 year history. (only two graphic designers were selected)
"A pioneer with profound impact"

http://www.apple.com/30-years/1992/

davids poster for his A.I.G.A., austin lecture. 2014. the poster was Arminized* before printing. (*changing ones work without permission or discussion)

world wide branding campaign, microsoft

David Carson: Featured Speaker at Grafik15

"Have fun." David Carson's closing message is anything but glib-- profound, in truth and action. It's the driving force behind the graphic designer's body of work; a philosophy that he applies to life in general. The international legend, known for his iconoclastic style, experimental typography, and distinctive magazine layouts, spoke at Plaza Klub on Friday night as part of Grafik15's three day graphic arts extravaganza, taking place March 13-15 in Zurich. During the evening, which was much like a spontaneous, grand oeuvre tour led by sage/comedian Carson, the audience was treated to an inside glimpse of a creative brain.
Carson is an entertaining presenter, beyond doubt. At one point, he showed a photograph he had taken while driving ("texting and driving is illegal, so I take pictures while driving") of a lone bike on the back of a huge flatbed trailer. With his characteristic dry wit, Carson quipped, "What a way to transport a bike!" Interspersed with his commissioned designs and publications, these odd, funny moments he captures serve as testament to his ability to notice details in his surroundings, part of the landscape that impacts and reflects his art.
He's an advocate of freedom and authenticity, stressing that he believes in everything he produces. He also urges abandonment of templates. "Never use guidelines," Carson instructs, promoting creative freedom, self-expression, and aesthetic instinct.
A surfer, former teacher, and sociology major, Carson is candid and unassuming, sharing personal stories that almost serve as design parables, in the most natural way. "Be open to accidents," he says, noting that this doesn't mean to celebrate mistakes, but rather to stay open to what you might not expect at first, rather than trying to control outcome.
His favorite projects include working with Nine Inch Nails and Beach Culture Magazine. He uses QuarkXPress. He painted his driveway a rainbow of colors, because plain was boring, and he painted his array of surfboards plain white, as an artistic expression. "Always do something that pleases you." David Carson is a series of surprises, and someone who clearly loves what he does.
- Caitlin E. Krause

@CKwriter
www.flickr.com/caitlinkrause

honored to be included in novum magazine, switzerland, 90 year anniversary issue. 8 designers were selected to be highlighted in the issue, including hermann Zapf, milton glaser, uwe loesch, fons hickmann, francesco franchi. novum is long considered the top graphic design magazine coming from europe

click

DC designed cover,+ 12pg interview/article with dc inside. what Youth magazine, summer 2015.

2015. Davids poster for the 50th anniversary of the Society of Publication Designers, nyc. available soon at SPD site.

While going into this photobook I would not normally be interested in the kind of commercial photography that is largely exhibited, the power of Watson's images was hard to deny. I could still feel a powerful mood, sense of history, and artistry in looking at them; whether it be one of the many portraits, artifacts from the Apollo missions, or a snapshot similar to what I gravitate towards as a photographer.

However, as someone who is also a graphic designer, what stole the show for me was the design treatment by David Carson. The individual attention given to the design of the captions and text in this photobook by the designer David Carson is incredible. Every photograph and piece of text is given it's own personality-deservedly so-yet at the same time, everything feels like it belongs to the same family within the book. The treatment of the design and typography meet the task of matching the tone or content of the photograph(s) it is paired with; sometimes overtly, sometimes more subtly and abstractly. Rather than overpowering the photography-as you might expect would happen with the application of more expressive design-Carson's design synthesizes with the content, creating a world and story that is unique to the book. A story that is told not only with photography but words, yet it must be seen and felt rather than read to be understood.

http://lightsideinhabitant.tumblr.com/post/109161546568/cyclops-..

DCD is the cover story for feb.2015 issue of design magazine, the T ,from south korea. An extensive interview,and samples of work, over 17 pages.......

no gmo logo

dcd branding for studios architecure, nyc.

bnj co. logo

graphics and design for global social media site.

app development work.

those interested in seeing Carson's work fire on all cylinders, and getting a better understanding of its wider cultural importance, check out his design for The Book of Probes, a collection of McLuhan aphorisms and adages, quips and japes, .......... In his essay about The Book of Probes, McLuhan expert W. Terrence Gordon writes that Carson's treatment of McLuhan's words "provides a haven of rest for an eye exhausted by the price it pays for its addiction to linear space . . . Carson tweaks the nose of our eye with a wake-up call to resonant utterance, scattering visual reminders of how we impoverish our sensory lives by clinging to linearity."

Read more: David Carson, Marshall McLuhan, and the End of Print (Again) "

spread" from the book of probes,"

brand acumen (music: SKALPEL) click

David,
It has been an absolute pleasure and an honor to have the chance to work with you.
No one else could have captured our "mold-breaking" ideology quite like you did.
Cheers,
Suzanne / Brand Acumen
nov.2013.

David is honored to be the featured design speaker at the International Festival of Creativity, for advertising and agency creatives, held in Dubai this coming march, March 8th 2015

March 2015. david spoke at the Dubai Lynx International Festival of Creativity , and judged their advertising awards...

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Born in the Netherlands in 1928, Wim Crouwel trained at the Art Academy Minerva (1946-49) and after completing his military service, started his professional life as an abstract painter. He studied at the Amsterdam Art Academy (1952-53) and during that time joined an exhibition design firm (1952), where he gained his first experience of the possibilities of graphic design. Inspired by Swiss design, in 1954 he stopped painting and sought work as a freelance designer in Amsterdam.

During the 1950s, Crouwel traveled to Switzerland, meeting with other designers and witnessing the emerging International Style. An avid proponent of international debate, he became the first general secretary of the International Council of Graphic Design Associations (Icograda) in 1963. In the same year, Crouwel, product designer Friso Kramer, and architect and graphic designer Benno Wissing, together with Paul and Dick Schwarz, founded Total Design, the Netherlands' first multidisciplinary design studio, which was to become a dominant force in Dutch design. Through their work, Crouwel and his colleagues had significant influence on the national and cultural identity of the Netherlands. Crouwel's portfolio ranges from postage stamps for the Dutch Post Office (1968) to an extensive body of work for the Stedelijk Museum (1964-85)-all testimony to his achievements in the refinement and application of the grid. Crouwel is also especially recognized for his innovative systematic approach to design thinking. In 1967, as a response to early digital typesetting, he designed the experimental typeface New Alphabet (in the permanent collection of The Museum of Modern Art, New York), devising a matrix within which letterforms were constructed as units on a grid.

In 1972, Crouwel became a part-time professor at Delft Technical University (TU Delft), and in 1980 he left Total Design when he was appointed a full-time professor at TU. In 1985 he was named Director of the Museum Boijmans Van Beuningen in Rotterdam. He consolidated his longtime commitment to education in assuming the Private Chair at Erasmus University, Rotterdam (1987-93).

Wim Crouwel holds a number of honorary positions, including Officer of the Most Excellent Order of the British Empire (OBE); Knight of the Order of the Dutch Lion; Honorary Royal Designer for Industry, UK; Honorary Fellow of the Society of Typographic Designers, UK; and Honorary Member of the Deutsche Werkbund. His work, which has received many European design awards, has been exhibited internationally, most recently in the 2011 retrospective "Wim Crouwel: A Graphic Odyssey" at the Design Museum, London and the Stedelijk Museum, Amsterdam.

Crouwel's achievements are the subject of several books, including Wim Crouwel Alphabets by Kees Broos and David Quay (2003) and Wim Crouwel: Mode en Module by Frederike Huygen and Hugues Boekraad (1997). His lectures and essays have been collected in Wim Crouwel: In His Own Words, edited by Toon Lauwen (2010).
Wim Crouwel works

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Born in the Netherlands in 1928, Wim Crouwel trained at the Art Academy Minerva (1946-49) and after completing his military service, started his professional life as an abstract painter. He studied at the Amsterdam Art Academy (1952-53) and during that time joined an exhibition design firm (1952), where he gained his first experience of the possibilities of graphic design.

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Photo by Claire Loewenthal

Eric Gill has never been easy to pigeonhole: a socialist Catholic, a spiritually minded family man, a keen and active admirer of female and typographic curves alike. For many decades, Gill - a stonecarver, graphic artist, type designer and writer - has been one of the most fascinating figures on the British design scene (although, as he explains in his own inimitable style, he is not particularly fond of "design"). We are extremely proud to have struck up a dialogue with one of the great letter makers of the twentieth century. Meet Eric Gill, a man in love with letters and life.

Mr Gill, when growing up in Brighton and Chichester you showed remarkable drawing talent, and your father taught you about perspective. You then went to the Chichester Technical and Art School where you learned to draw with great accuracy and took a certificate in geometry. But when did letterforms come into your life?

My enthusiasm for lettering had begun in Brighton. From my earliest years I had always been fond of drawing engines and bridges and signals and tunnels. I was very much concerned with the structure and movement and purposes of locomotives, because you can't make a good drawing of anything unless you know how it works and what it is for. I suppose I was training myself to be an engineer. I think I thought that all engineering was like that - an immense enthusiasm for engines - engines as beings. Now locomotives have names, and these are painted on them with great care and artistry. If you're keen on engines, you collect engine names (at our school it was as popular a hobby as "stamps") and if you draw engines you cannot leave out their names. Yet at Brighton this lettering enthusiasm hardly won a specific recognition.

But at Chichester, under the influence of the art master I discovered that letters were something special in themselves and, urged by his enthusiasm, I became expert in inventing what seemed to me later the most monstrous perversions and eccentricities in the way of " new art " lettering. I could almost wish I had that freedom now. And yet we weren't really free; for we laboured under the tyranny of art school fashion - a harder master more capricious than any "tradition" or than any such rational notion as that the primary business of lettering is to be legible. On the contrary, the primary business of lettering was to be what they called and still call "decorative". Though I am ashamed of it now, I was jolly proud of it then, and my prowess was highly esteemed and earned me much undeserved praise. The "really important" thing, however, is this: that I was, in a not too inaccurate manner of speaking, "mad" on lettering.

Then you moved to London to work as a trainee in an architect's office. Frustrated by the procedures of architecture and building, you began frequenting Edward Johnston's calligraphy classes at the Central School of Arts and Crafts. He later became your friend and mentor. What did your relationship with Johnston mean to you?

I fell in love with him - but don't make any mistake as to my meaning. I fell in love with him as I might, and indeed did, with Socrates.

It was through Edward Johnston that I finally threw off the art nonsense of the Chichester art school and got away from the amateurishness of my efforts as an architect's pupil. I won't say that I owe everything I know about lettering to him - not that it is very much, for I'm no sort of learned person and have never been much of a student of anything - but I owe everything to the foundation which he laid. And his influence was much more than that of a teacher of lettering. He profoundly altered the whole course of my life and all my ways of thinking. Just as "art nonsense" couldn't stand against him, so also "thought nonsense" was toppled over. I was hasty and careless and ready to jump to conclusions and make rash generalizations. And Edward Johnston was like a perpetual brake on all such rashness.

And as a writer with the pen, a calligrapher - the first time I saw him writing, and saw the writing that came as he wrote, I had that thrill and tremble of the heart which otherwise I can only remember having had when first I touched her body, or when I first saw the North Transept of Chartres from the little alley between the houses. On those occasions I was caught unprepared. I did not know such beauties could exist. I was struck as by lightning, as by a sort of enlightenment. On that evening I was thus rapt. It was no mere dexterity, that transported me; it was as though a secret of heaven were being revealed.

Eric Gill's best-known typeface came into being after Monotype's Stanley Morison spotted the sign Gill had painted for Douglas Cleverdon's bookshop in Bristol. Morison ordered a typeface based on those monumental sans-serif capitals. During its first decades, Gill Sans was recommended for advertising and display use only. But as readers got used to reading sans-serif, Gill Sans turned out to work well for body text in magazines as well as books. As Gill himself wrote, Gill Sans was largely indebted to the Underground typeface drawn in 1913 by his former calligraphy tutor, Edward Johnston.

Perpetua, too, was commissioned by Stanley Morison. As the supervisor of an extensive program of Monotype text faces, Morison wanted a brand new roman to complement the series of revived classics. Being convinced that none of the era's expert calligraphers was up to the job, he turned to a stone carver instead. Eric Gill made drawings based on an alphabet he used for inscriptions. Perpetua immediately betrays the hand of its maker - it is the quintessential Gill roman, so distinguished (wrote Morison) that in non-fiction or scientific books, "the effect is more artistic or literary than is wanted." We are probably more tolerant today.

I understand your fascination for the act of writing. But what exactly is so special about letterforms themselves - and why do you revel in painting them, or carving them in stone?

The shapes of letters do not derive their beauty from any sensual or sentimental reminiscence. No one can say that the O's roundness appeals to us only because it is like that of an apple or of a girl's breast or of the full moon. We like the circle because such liking is connatural to the human mind. And no one can say lettering is not a useful trade by which you can honestly serve your fellow men and earn an honest living. Of what other trade or art are these things so palpably true? Moreover it is a precise art. You don't draw an A and then stand back and say: "there, that gives you a good idea of an A as seen through an autumn mist", or: "that's not a real A but gives you a good effect of one." Letters are things, not pictures of things.

At what point did you decide that your destiny was to become a professional lettering artist and a stone carver?

When an eminent painter came to the lettering class to ask if there was anyone among the students who could cut an inscription on a tombstone for him, I was named. Already at the architect's office I'd got a sort of reputation as a letterer and used to do a lot of lettering on the drawings; so I began to awake to the possibility of doing lettering for a living. And one thing led to another. The tombstone inscription took me about three months of evenings and I got five pounds for it.

Lettercutting - a grand job, the grandest in the world. What could be better? If you've never cut letters in a good piece of stone, with hammer and chisel, you can't know.

Later the lettering business developed in several directions. Lettering in stone was the chief thing but this led to others - drawing letters for books (title-pages and such) and that led to engraving in wood; painted lettering, and that led to quite a brisk trade in shop-facia writing, and me going up and down the country as a sign-writer, and even to Paris, and there was more work than I could do all by myself.

As your studio flourished and you became one of England's most respected stone carvers, more and more architects relied on you for carvings and inscriptions. Before, they would hand extremely detailed drawings of every ornament to the carver - a practice you despised. What made them trust you as an artist, and not a mere executor of their ideas?

My chief claim was that I could relieve the architect of the necessity of supplying drawings in connection with one craft at least. But such a claim depended upon my ability to give them something better than they could get otherwise. Therefore I had to profess to "know" - and to know better than they did themselves. That was where I was lucky; for I came along just at the moment when the work done by William Morris was bearing fruit in the minds of architects and the influence of Edward Johnston and others was making it clear that fine printing was only one of a thousand forms of fine lettering. And what was fine lettering? It was in the first place rational lettering; it was exactly the opposite of "fancy" lettering. That was the new idea, the explosive notion, and, you might say, the secret. For the world thinks that art and reason are complete opposites, that the artist is the irrational person and all his works the product of caprice and emotional temperament. Art dealers, art critics and artists themselves have more or less consciously conspired to preserve the fiction. Thus art becomes mysterious and a false glamour surrounds it - and better prices.

And what applied to the "fine" arts applied to all the others. As soon a thing was given the title of "artistic" it was supposed to be a work of fancy, and irrational. Artistic lettering meant lettering in which legibility was sacrificed to something called beauty - beauty, "the beautiful", that which tickles your fancy.

On the other hand, following Morris, following Ruskin, following the universal practice of the world, we were in revolt against the whole conception of art as being irrational.

What is good lettering? That was the job before me. And at every point a justification must be found in reason. Of course we weren't teetotalers about fancy work, but it must be kept subordinate, and even fancy work should grow out of legitimate occasion. What is decoration but that which is seemly and appropriate?

Many designers agree that Joanna - named after his favorite daughter - is Gill's most interesting, most innovative text typeface. Again, there are similarities with Perpetua. But the strokes are sturdier, with less contrast, and the serifs are simple rectangles. You could argue that Joanna is the first "humanist slab serif", preceding Caecilia and Scala by half a century. Its Italic is brilliant: narrow and upright, it is still open and clear enough to work well in body text, but also makes an attractive and strikingly modern display face.

After Gill Sans had caught on, British Monotype was eager to capitalize on its success by adding fancy display versions. Most were, at least in part, drawn at the Monotype office with Gill's cooperation. The most spectacular of these display types is the ultra-bold version also known as Gill Kayo. of which there is also an interesting condensed variety. Gill was mildly amused by Monotype quest for extremity and is reported to have dubbed Kayo "Gill Sans Double Elefans." Among the other display versions developed during Gill's lifetime is a series of shadowed capitals.

In conceiving letterforms, how do you determine what is appropriate? For instance, when you invented an innovative concept such as your own Gill Sans, how did you determine which shapes would work optically?

Legibility, in practice, amounts simply to what one is accustomed to. But this is not to say that because we have got used to something demonstrably less legible than something else would be if we could get used to it, we should make no effort to scrap the existing things. This was done by the Florentines and Romans of the fifteenth century; it simply requires good sense in the originators and good will in the rest of us.

Good will seems to be a common possession of mankind, but good sense, i.e. intelligence, critical ability, and that intense concentration upon perfection which is a kind of genius, is not so common. Everybody thinks that he knows an A when he sees it, but only the few extraordinary rational minds can distinguish between a good one and a bad one, or can demonstrate precisely what constitutes A-ness. When is an A not an A? Or when is an R not an R? It is clear that for any letter there is some sort of norm. To discover this norm is obviously the first thing to be done.

The first notable attempt to work out the norm for plain letters was made by Edward Johnston when he designed the sans-serif letter for the London Underground Railways. Some of these letters are not entirely satisfactory, especially when it is remembered that, for such a purpose, an alphabet should be as near as possible to "fool-proof", i.e. the forms should be measurable - nothing should be left to the imagination of the sign-writer or the enamel-plate maker. In this quality of "fool-proofness", my Monotype sans-serif face is perhaps an improvement: the letters are more strictly normal.

If legibility calls for the greatest possible amount of "normality", then what about display type?

As there is a norm of letter form - the bare body, so to say, of letters - there is also a norm of letter clothes; or rather, there are many norms according to the place or purpose letters are used for. A typically moral and conscientious Englishman finds it exceedingly difficult to keep morals out of art talk; he finds himself inclined to think, for instance, that an R ought to have a bow more or less semicircular and of a diameter about half the length of the stem, and a strongly outstanding tail; and that an R with a very large bow and hardly any tail at all is wrong. But moral notions like this are obviously absurd in such a discussion, and we should be ready to admit that any old shape will do to make a letter with.

Nevertheless, seeing the whirl of eccentricity into which modern advertising is driving us, it seems good and reasonable to return to some idea of normality, without denying ourselves the pleasure and amusement of designing all sorts of fancy letters whenever the occasion arises. A man who knows his road can occasionally jump off it, whereas a man who does not know his road can only be on it by accident. So a good clear training in the making of letters will enable a man to indulge more efficiently in fancy and impudence.

Solus was a roman cut for Monotype in 1929, and apparently withdrawn by the company in 1967. A few years ago, K-Type's Keith Bates discovered it as "a few meager visual snippets"; further research led to better models to work from. Bates found the typeface to be similar to Perpetua in many respects, but also "felt it to have an identity of its own, for me it has a real English schooldays feel." With its subtle bracketing, this one-weight revival has a warm and friendly feel. Although for legal reasons it was renamed " Non Solus ", the font is "as near to the spirit of Eric Gill's Solus" as Bates was able to make. A great font for posters and book covers - and surprisingly affordable.

You have often spoken and written about the contradictions and injustices of industrial production. You're notably critical of the way craftsmanship has been replaced by a process in which the job of creating things has been split up into different roles. What are your main objections?

The chief and most monstrous characteristic of our time is that the methods of manufacture which we employ and of which we are proud are such to make it impossible for the ordinary workman to be an artist, that is to say a man responsible not merely for doing what he is told but responsible also for the intellectual quality of what his deeds effect. The ordinary workman has been reduced to the level of a mere tool used by someone else. However much skill he may have in his fingers and conscientiousness in his mind, he can no longer be regarded as an artist, because his skill is not that of a man making things. He is simply a tool used by a designer and the designer is alone the artist.

So we have the designer who designs what he never makes and the worker who minds the machine which makes what he never designs. And we have the salesman who neither designs things nor minds machines but is supposed to know what the public wants. But the public doesn't know what it wants, and it has no means of finding out.

Gill Floriated Caps is based on a single character, which Eric Gill drew as a decorated initial for use on a specimen of his Perpetua type. When Stanley Morison asked him to produce a full alphabet, he refused at first. Morison insisted, and finally Gill drew a few more characters from which the Type Drawing Office was able to create a full set. It was released as a digital font in the 1990s.

Very well put, sir. But industrialism cannot be halted. The process of mechanical production, as you have written yourself, is "the body of our modern world." And in spite of your skepticism, doesn't the designer play a central role in this process?

Designer! Of course there must be a designer, a person, a mind, who thinks and contrives how things shall be made; but just because there must be there is no need to talk about him unless - and here's the trouble - you mean, not the person or persons really responsible for the production of the article, but a person called in from outside and paid to add something. To add what? Ah! What? Well, just that extra quality which in my country the Design & Industries Organisation calls "beauty" or "comeliness". Why call in a designer if he isn't going to add something? My one complaint against machine-made goods is precisely this: that they too often hide their light under a bushel of "design". Think how decent alarm clocks might be if they were just as plain and well-made outside as they often are inside!

If we insist on the ornamental we are not making the best of our system of manufacture, we are not getting the things that system makes best. The process by which a railway locomotive has become the beautiful thing it now is, this process must be welcomed in all other departments of manufacture. ... And ornamental typography is to be avoided no less than ornamental architecture in an industrial civilization.

The truth is that a thing fit for its purpose is necessarily pleasant to use and also beautiful (i.e. seen as being in itself delightful to the understanding). I think an artist is not a person who makes things beautiful, but simply one who deliberately makes things as well as he can - whether he is a clock-maker or picture-painter; because machine-made things are very much better when no "designer" has had anything to do with them - when they are just plain serviceable things. I think that if you look after goodness and truth, beauty will take care of itself.

Thank you very much for your insights!

Eric Gill's master and friend, calligrapher Edward Johnston, was commissioned to design a typeface for the London Transport system. He drew a sans-serif with classical proportions - a unique concept at the time, and a huge influence on Eric Gill's Sans. Johnston's typeface became an icon in typography. P22's first digital version was produced in 1997 in agreement with the London Transport Museum. Underground Pro, released in 2007, is a complete overhaul: an expanded family of six weights, including small caps and three sets of decoratively underlined headline faces.

Eric Gill quotes adapted from: An Essay on Typography (London, J.M. Dent, 1931); Autobiography (London, Jonathan Cape, 1940); Essays (London, Jonathan Cape, 1947)

Who would you interview?

Creative Characters is the MyFonts newsletter dedicated to people behind the fonts. Each month, we interview a notable personality from the type world. And we would like you, the reader, to have your say.

Which creative character would you interview if you had the chance? And what would you ask them? Let us know, and your choice may end up in a future edition of this newsletter! Just send an email with your ideas to stars@myfonts.com.

In the past, we've interviewed the likes of Christian Schwartz, Dino dos Santos, Jim Parkinson, Mário Feliciano, and Underware. If you're curious to know which other type designers we've already interviewed as part of past Creative Characters newsletters, have a look at the archive.

Comments?

We'd love to hear from you! Please send any questions or comments about this newsletter to stars@myfonts.com

Newsletter archives

Know someone who would be interested in this? Want to see past issues? All MyFonts newsletters (including this one) are available to view online here.

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MyFonts: Creative Characters interview with Eric Gill, April 1, 2009

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Photo by Claire Loewenthal Eric Gill has never been easy to pigeonhole: a socialist Catholic, a spiritually minded family man, a keen and active admirer of female and typographic curves alike.

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Barnbrook retrospective poster for exhibition at Ginza Graphic Gallery, Tokyo

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The typography of this film is really nice, you can see that the creator made a research about the film origens and apply them on the letters. It inspires me, to do types.

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JUST FOR FUN!BEYNO is an uppercase font, which is great for creating eye-catching headlines, posters and much more.Contact for Commercial License

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This is a selection of my recent and best work from the past. All of my work from 2003-2013 is documented in my monograph, Pretty Pictures.

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The portfolio and random thoughts of a crazy cat lady.

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Nice poster

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Discover recipes, home ideas, style inspiration and other ideas to try.

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Featuring the many posters designed by Saul Bass... with examples drawn from his private collection.

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Cool graphic letters

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Portfolio Categories work | Oded Ezer Typography

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Make art visual illusion related to my publish idea of make a maze. Good reference

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Explore the beautiful art of M.C. Escher. Learn about the artist's life and work. Get the latest news about exhibitions, learn about the use of M.c. Escher's work, and discover great products that feature the designs of this legendary artist.

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Empory Douglas is it a good reference for my work, I like the way Emory compose backgrounds on his posters, mixings colors and sometimes creating perspective for the illustration that is in the center.
Emory Douglas had envolvement in social movements such as the Black Panther and the civil rights for the black community.

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Emory Douglas : The Roots of Political Street Art

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This weekend I went to the New Museum in New York City for the first time. I am not really sure what took me so long to get there but I think it was a subliminal resistance to prolong my optimism towards to the museum, as a response to the negative feelings I have heard from those around me about it.

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Nice composition of poster, like the way Shigeo play with the ambiguous things.

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Shigeo Fukuda (February 4, 1932 - January 11, 2009) was a Japanese design prodigy and creative multi-potentate as a sculptor, graphic artist, and poster designer. Most importantly, Shigeo Fukuda was greatly influential as a designer of optical illusions.

Fukuda was born in Tokyo to a family with a thriving toy production business. Growing up surrounded by toys helped him develop an appreciation for creativity and aesthetics. As a young post-war designer, he was intrigued by the minimalist Swiss school of design. While at the Tokyo National University of Fine Arts in the mid-50s he developed a minimalist and simple style that became part of his defining look.

During the 1960's, Shigeo Fukuda became deeply intrigued by illusionism. He began writing a column on visual magic in the Ashai Newspaper called "Ryu Mita Ka?" (Have you seen the Dragon?). He also ran Idea Magazine's Visual Circus, which was a bi-monthly magazine that showcased entertaining visual illusions. In these roles, he became the expert and a master designer of illusion. Here is a great quote from him on the topic of illusion:

"I believe that in design, 30% dignity, 20% beauty and 50% absurdity are necessary. Rather than catering to the design sensitivity of the general public, there is advancement in design if people are left to feel satisfied with their own superiority, by entrapping them with visual illusion."

When describing his posters, The New York Times referred to them as "[distilling] complex concepts into compelling images of logo-simplicity." His work also included the official poster for the 1970 World's Fair in Osaka.

Fukuda was an environmentalist and anti-war. Twice commissioned to celebrate Earth Day, he designed two posters, one that presents the Earth as a seed opening against a solid sea-blue background and the "1982 Happy Earth Day," which shows an axe with its head against the ground, having a small branch sprouting upwards from its handle.

A poster dedicated to Amnesty International presents a clever illusion of a clenched fist interwoven with barbed wire. The letter "S" in the word "Amnesty" at the top of the poster forms an inked shackle.

Fukuda was the first Japanese designer inducted into the Art Director's Club Hall of Fame. The club called him "Japan's consummate visual communicator" and described his piece "Victory 1945" as a "bitingly satirical commentary on the senselessness of war." Victory 1945 won him the grand prize at the 1975 Warsaw Poster Contest and he gave all the proceeds of the competition to the Peace Fund Movement.

During the span of his career, he created thousands of posters. The use of simply lined illustration and repetition of form combined with illusion has been emulated by many graphic and motion graphic designers. You can see a Fukuda influence in this Pet Shop Boys video by Han Hoogerbrugge.

In his later years, Fukuda took his exploration of illusion even further and created work that used light projections and sculpture to create tricks of the eye. His most famous work, "Lunch With a Helmet On," is a sculpture made entirely of forks, knives, and spoons which casts a shadow that is a detailed image of a motorcycle.

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Designer Focus: Shigeo Fukuda - Notes on Design

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Shigeo Fukuda (February 4, 1932 - January 11, 2009) was a Japanese design prodigy and creative multi-potentate as a sculptor, graphic artist, and poster designer. Most importantly, Shigeo Fukuda was greatly influential as a designer of optical illusions. Fukuda was born in Tokyo to a family with a thriving toy production business.

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Graffite and "lambes" influence work

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Seymour Chwast’s posters reside in the permanent collections of the Museum of Modern Art, New York; the Cooper-Hewitt, Smithsonian Design Museum, New York; the Philadelphia Museum of Art; the Library of Congress, in Washington, D.C., and many other museums worldwide. Due to limited quantities, selections for sale will change occasionally (please check back often).

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The Guerrilla Girls are feminist activist artists. We wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. Our anonymity keeps the focus on the issues, and away from who we might be: we could be anyone and we are everywhere.

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fhttp://www.bijari.com.br/arte

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Seja desenhando cartografias, projetando videos em escala urbana ou intervindo diretamente nos espaço públicos, o Bijari busca ocupar as fendas e as fronteiras entre o público e o privado, o oficial e o ilegal, o centro e a periferia no intuito de reconfigurar novos territórios políticos e poéticos.

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Shapes have to mean. A jagged line is going to be interpreted differently from a smooth curve. Similarly, squares are different from circles. And as shapes for an integral part of any web page, you're going to design, it's important that you know what those shapes communicate. Otherwise, your audience might pick up things subconsciously from your web page design that you never intended.

For that reason, it is important that before you just grab a set of free icons, you know what they mean. And so today we're going to look at the differences between different shapes so that you can consciously choose what you're going to say. So that your sites, rather than sending conflicting messages to mesh together smoothly, so that your users have a smooth UX and walk away with exactly the message you want.

Shape grammar

There are three basic shape types. These are Geometric, Natural/organic and Abstract shapes.

Geometric shapes don't need that much explanation. These are the circles, the squares, the arrows and such. These are the most basic of the shapes and what most people will think of when they are asked to 'imagine a shape'. Using these kinds of shapes in your web pages suggests structure, organization, and efficiency. On their own they can be slightly uninspiring, however.

Natural and organic shapes aren't regularly shaped. They do not have symmetry (at least not immediately obviously symmetry) and often have uneven shapes as well as curves. They can often be calming in that they're symbolic of shapes we find in nature (flowers, rocks, leaves, trees, etc.) They are often introduced through the use of pictures and can give a very spontaneous feeling. Note that if there are too many of these shapes it can give a cluttered feeling.

Abstract shapes are human made. These include the wheelchair figure, the man and the women used in many bathrooms, as well as many traffic signs. They also include typographic glyphs and other figures. They have been given meaning through our use of them.

Note that shapes can either be positive or negative, as in they can be foreground and background. Pay especial attention to what shapes you use in your negative space. Though your user might not actually be consciously aware of them, that doesn't make them less important. In fact, in many ways, it makes them more so as they can come in under the radar.

Shapes and their meanings

The first important thing to note is that many shapes have different meanings in different parts of the world. For example, the thumbs up sign might be positive in the rest of the world, but means you intent to jam your thumb up somebody's anus in the Middle East.

And so, before you use any sign or symbol, make certain that it is not going to offend anybody in some corner of the world that you want to do business with!

That said, some ideas do appear to be quite universal, simply down to the way a shape flows.

Circles - as it has no endings - is often interpreted in many cultures as a sign for endlessness. Similarly, because it has no corners (or an infinite number of corners according to mathematicians) is also associated with smoothness and gentleness. It also has freedom of movement, in that it can roll, which is something that you can enhance through the right shading or use of lines.

For those reasons, it is often associated with community, perfection and completeness.

Rectangles and squares - are more stable. They can't be moved easily. This means they're often associated with sturdiness, security but might also be associated with being boring (you're such a square!).

For that reason, to really make them work, consider adding a tilt. This turns a boring shape into something with far more energy.

Note that rectangles are very common online. They are everywhere, forming the borders around areas, the shapes of buttons and even the dimensions of the screen.

Triangles - can represent stability (that's when they're sitting on their base) or instability (When they're not). They can also imply directions as they are arrows at their most basic, and therefore can also indicate movement.

They can give feelings of conflict or steadiness, depending on how they are used. What's more, as we like the number three in western societies, they're often associated with religion, mysticism, and other spiritual concepts.

Spirals - this is a shape that often signals creativity, progress, and nature (spirals are very common in natural phenomenon). They're also often associated with transformation and are therefore often linked to birth, day, growth, fertility and so on.

The spiral is quite a busy shape and can be distracting to the eye - particularly if there are several of them. They are also strongly linked to mysticism and so if that's not what you're trying to go for (for example if you're trying to build a tech website) this you'd probably be better staying away from them.

Crosses - can be associated with the sciences and mathematics. In an overlying pattern, they once again become rectangles and squares. Obviously, the cross with a longer leg than the other directions has very strong significance in western shapes and shouldn't be used unless you want to signify religious intent.

On its side, the cross becomes the 'x' shape, which is more stable, but also associated with 'no' in the subconscious of many people (it's a hangover from school). It is therefore probably better avoided, particularly if you're also using the color red.

Background

Remember that in recent years that has been a strong movement away from an over-busy background. For that reason, it's better not to use too many shapes. Some shapes repeating (provided you choose the right ones) are possible, though that can still be frustrating for the eye and thereby reduce the UX.

Therefore, if you're trying to organize the working process so that users are more likely to engage with them, it might be best to use shapes sparingly to draw the eye towards the right spaces rather than to distract them.

In that way, you can imbue certain aspects of your page with a strength or significance that the user isn't even aware of consciously, but that will still influence how they perceive that element as they consume it.

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Usage of Geometric Shapes in Graphic Design

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Shapes have to mean. A jagged line is going to be interpreted differently from a smooth curve. Similarly, squares are different from circles. And as shapes for an integral part of any web page, you're going to design, it's important that you know what those shapes communicate.

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I like the way the artist play with the movement on her photos using a low velocity.

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"As coisas pareciam estranhas porque minhas fotos dependem de um estado emocional... Eu sei que isso é verdade e eu pensei sobre isso por muito tempo. De alguma forma isso fez eu me sentir muito, muito bem." - Francesca Woodman

Francesca Woodman © via www.long-may-she-rain.blogspot.com

Francesca Woodman (3 de abril, 1958 - 19 de janeiro, 1981), filha de pais artistas (sua mãe Betty, uma ceramista e escultora e seu pai George, um pintor e fotógrafo), foi uma fotógrafa americana modernista que começou a tirar fotos com 13 anos. Foi assim tão jovem que ela tirou seu primeiro auto-retrato.

Woodman gostava de tirar fotos em preto e branco, a maioria das vezes dela mesma, nua, em locais abandonados, empoeirados, em ruínas e destruídos - com a pintura descascada e desmoronando, e papéis de parede desbotados e manchados. - ela contribuiu muito para o gênero do auto-retrato. Como ela normalmente se escondia nos seus auto-retratos, seu estilo é referido como "anti-retrato."

Auto-Retrato com 13 anos. © Francesca Woodman via www.heenan.net

Ao passo que alguns críticos clamavam que sua obra é narcisista, Woodman costumava responder, " É uma questão de conveniência, eu estou sempre disponível. " No entanto, o resultado final de seus auto-retratos não revelam sua verdadeira persona: A Woodman da vida real é completamente diferente. Ela adorava se vestir a la Alice No País Das Maravilhas e às vezes até como uma heroina Vitoriana. Ela costumava manter um diário em que escrevia sobre "lindos biscoitinhos, trufas de chocolate, pêssegos de dar água na boca, [e] tortinhas de amora" - ela explorava as possibilidades de transformação pela câmera e foi muito bem sucedida em fazer arte de seu corpo fantasmagórico, disfarces misteriosos e poses.

Os trabalhos de Woodman, imbuídos de uma singularidade de estilo, visionaram um atalho artístico e produtivo de vida. Era o ano de 1981, e ela tinha apenas 22 anos de idade quando cometeu suicídio. Sua morte prematura não lançou somente uma sombra nas imagens que ela deixou pra trás; seu falecimento significantemente deixou uma janela por onde as pessoas podem ver sua vida autobiográfica de um ponto de vista intenso, íntimo, e introspectivo. Ela tem a consistência como assinatura: uma raridade de se encontrar em jovens artistas. Dar uma olhada em suas vívidas fotografias pode ser um pouco desconcertante. Mas ao mesmo tempo, é impossível não sentir arrependimento pelo o que mais poderia ter sido. Mesmo após 30 anos desde que ela abandonou a vida, Woodman ainda se esconde sedutoramente de nós, como visto em suas incomparáveis obras primas.

Francesca Woodman © via www.static.guim.co.uk

Francesca Woodman foi uma fotógrafa e modelo e também o objeto e o sujeito - todos ao mesmo tempo. Seu estilo em ebulição de fotografias monocromáticas é uma mistura de borrões e clandestinidade, é arrepiante, dramático, elusivo, gótico, brincalhão, provocativo, e estranho. Suas séries foram um vínculo entre auto-obsessão adolescente e auto-exploração e auto-preservação artísticas. Dentre mais ou menos, 800 fotografias tiradas entre 1972 e 1981, aqui estão poucas mas inesquecíveis e altamente aclamadas seleções das imagens em escala cinza de Francesca Woodman:

all photos © Francesca Woodman via www.berk-edu.com, www.caitlinpotts.com, www.nybooks.com, and www.studio-international.co.uk.

Qual dessas desarmantes fotos de Francesca Woodman te atingem mais? Quais outros fotógrafos modernos e surreais você gostaria que se escrevesse sobre?

Você gosta desse artigo? Leia mais sobre a Serie Melhor do Melhor. Mulheres fotógrafas e suas melhores fotos incluem
Diane Arbus, Ilse Bing, Julia Margaret Cameron.

escrito por basterda no dia 2012-05-22 em #lifestyle #preto-e-branco #nu #auto-retrato #fotografos #surrealismo #francesca-woodman #melhor-do-melhor-serie
traduzido por bmastrogiovanni

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Lomography - O Melhor dos Melhores: Francesca Woodman

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"As coisas pareciam estranhas porque minhas fotos dependem de um estado emocional... Eu sei que isso é verdade e eu pensei sobre isso por muito tempo. De alguma forma isso fez eu me sentir muito, muito bem." - Francesca Woodman

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Explore Daniel Tückmantel's 187 photos on Flickr!

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This reference I used on my outcome project on adding something to the photo. On sewing the lines and crossing them.

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Inspired me at the destroying photos project, the way she make images with the fragments of them.

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As criações do artista australiano Justine Khamara, com sede em Melbourne, desconstroem retratos impressos em madeira compensada por corte, alongamento, distorcendo-as até criar algumas esculturas abstratas e surreais!

+ Informações aqui: Justine Khamara

Author: Felipe Matula

https://www.zupi.com.br/author/felipe

Jornalista, amante de literatura e cinema, sempre busco ter um olhar diferenciado das obras que leio ou assisto. Acredito que através da escrita posso atingir outras pessoas e obter olhares diferenciados sobre aquilo que escrevo.

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Descontruindo retratos por Justine Khamara

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As criações do artista australiano Justine Khamara, com sede em Melbourne, desconstroem retratos impressos em madeira compensada por corte, alongamento, distorcendo-as até criar algumas esculturas abstratas e surreais! + Informações aqui: Justine Khamara Author: Felipe Matula https://www.zupi.com.br/author/felipe Jornalista, amante de literatura e cinema, sempre busco ter um olhar diferenciado das obras que leio ou assisto.

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John Stezaker - Artist's Profile - The Saatchi Gallery

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Joan Fontcuberta - 45 Artworks, Bio & Shows on Artsy

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Find the latest shows, biography, and artworks for sale by Joan Fontcuberta. In his photography-oriented practice, Joan Fontcuberta challenges the authority ...

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Interesting mixing of photos and collage.

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zines

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Storytelling

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Holly St Clair is a London based illustrator and artist.

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The current group is composed by: Carol Grespan, Daniel Bueno, Fabio Zimbres, Fernando de Almeida, Luana Geiger, Madá Elek, Marcelo Salum, Marilia Scharlach, Maroca Sampaio and Silvia Amstalden.

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Graphic pieces and zines

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Drawing and narrative

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Mr Bingo likes drawing things and rapping and this is a website of some stuff that he's done.

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ZINEZŐ is a design themed zine, which uses articles about design and translates them to hungarian language for educational purpose.

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PODAROK #1 (GIFT #1) "Podarok" is a print project where we make cards, stickers, zines, posters and other printed stuff together with our friends. The first issue is a set of celebration cards and stickers.

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Screen print model of colours sobreposion

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Movie Pilot approached me to produce artworks and infographic assets for their online Disaster Movie Fanzine.

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Best Det Bra Fanzine Behancehttp Www images on Designspiration

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Saved by Emily Weigel on Designspiration. Discover more Det Bra Fanzine Behancehttp Www inspiration.