The still-life photography of Peechaya Burroughs

Thursday, 24 November, 2016

Photography by Peechaya Burroughs

Sydney based graphic designer and photographer Peechaya Burroughs creates quirky still life images, using food, and whatever other day to day objects, she can find. See more of her photography on Instagram and Behance.

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Jeri Kim, Korean graphic designer and illustrator

Monday, 31 October, 2016

Artwork by Jeri Kim

A varied collection of work by Jeri Kim, who is a Korean graphic designer, illustrator, and artist. There’s also more to be seen on Facebook.

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The work of Iranian illustrator and artist Peyman Rahimizadeh

Monday, 26 September, 2016

Artwork by Peyman Rahimizadeh

Iranian artist and graphic designer Peyman Rahimizadeh illustrates children’s books, but I suspect many of his artworks have a much wider audience. Take a look at his work, and one, see what I mean, and two, be prepared to be dazzled.

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Meanest Indian, the graphic design of, and photography from, India

Wednesday, 10 August, 2016

Photo by Meena Kadri

If you like India, street signage, and graphic design, then you’re going to love the Flickr page, titled Meanest Indian, of New Zealand based designer Meena Kadri.

Photo by Meena Kadri

I don’t think it matters where you point a camera in India, there’s always a photogenic subject right in front of you. That’s what I thought after looking at these images, anyway.

Photo by Meena Kadri

Via Messy Nessy Chic.

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Graphic design is very much the sum of its parts

Wednesday, 16 May, 2012

A new book, 100 Ideas That Changed Graphic Design, written by Steven Heller and Veronique Vienne, sets out some of the more powerful ideas and concepts that shaped graphic design:

From concepts like manifestos (#25), pictograms (#45), propaganda (#22), found typography (#38), and the Dieter-Rams-coined philosophy that “less is more” (#73) to favorite creators like Alex Steinweiss, Noma Bar, Saul Bass, Paula Scher, and Stefan Sagmeister, the sum of these carefully constructed parts amounts to an astute lens not only on what design is and does, but also on what it should be and do.

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Chinese graphic design from the 1920s and 30s

Friday, 11 May, 2012

From Creation Monthly, 1928

A selection of works created by Chinese graphic designers during the earlier decades of the twentieth century.

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The paradoxes of graphic design illustrated by Tobias Bergdahl

Friday, 18 March, 2011

graphic design paradox by Tobias Bergdahl

The 12 paradoxes of graphic design, a set of images created by Tobias Bergdahl after attending a lecture given by London based designer Adrian Shaugnhnessy.

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Smoking, this spacesuit is so hot that it is on fire

Thursday, 17 February, 2011

An image of an astronaut – with spacesuit a blazing – crossing a city street created by by British graphic designer Jack Crossing, is reminiscent of a photo that appears on a certain Pink Floyd album cover.

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MoMA adds 23 influential fonts to its permanent collection

Tuesday, 1 February, 2011

New York’s MoMA (Museum of Modern Art) has recently added 23 fonts to its Architecture and Design Collection, which were chosen on account of the significant role each had in the development of font design during the last 50 years of the twentieth century.

This first selection of 23 typefaces represent a new branch in our collection tree. They are all digital or designed with a foresight of the scope of the digital revolution, and they all significantly respond to the technological advancements occurring in the second half of the twentieth century. Each is a milestone in the history of typography. These newly acquired typefaces will all be on display in Standard Deviations, an installation of the contemporary design galleries opening March 2 on the third floor.

For anyone curious as to how an institution such as a museum can add commercially available fonts for their permanent collections, Jason Kottke recently interviewed Jonathan Hoefler of font foundry Hoefler & Frere-Jones – four of their typefaces joined the MoMA collection – about the legalities of the acquisition.

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Substance over style, this is the first rule of graphic design

Wednesday, 22 December, 2010

New York illustrator and graphic designer Bob Gill, established his reputation by putting the design needs of his clients ahead of his desire to create beautiful imagery for them.

“I stopped trying to ram my aesthetic prejudices down their throats. Why should clients have my tastes? … I talked to them about solutions and ideas instead of design.” It is because of this attitude towards “inevitable” solutions that Gill’s clients thought so fondly of him. He was giving them tailored work that was concept driven and so well considered that he was able to effectively describe them over the phone. He started to consider what the solution should be first, worrying about appearance second.

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