Justin Gabbard is an illustrator operating out of the East Village in NYC. He has a great sense of self in his work, and it seems that everything he does is entirely natural. Justin has been fortunate enough to work on major advertising campaigns (for companies like Kiehl’s & Microsoft) and is featured in some of the nations top magazines (such as Wired, The New Yorker & Businessweek). And while his lettering is impressive in itself, he also has an amazing illustration portfolio which compliments his personal style perfectly. Read the rest of this entry »
- Olle Eksell Site & Shop
- This Is Forest — Joel Speasmaker
- MVM — Magnus Voll Mathiasson
- Art School Cliche Spotting
- Posters Discovered in Notting Hill Gate Tube Station
- Vinyl Documentary: To Have & To Hold
- Partisan Memorials in Former Yugoslavia
- Up in the Air- Opening sequence
- Geoff Mcfetridge: Where the Wild Things Are Title Design
- Nikkatsu – Japanese actions films
You are currently browsing the monthly archive for July 2011.
The Modernist / Published by Gestalten
Looking for some new inspiration or something to add to your summer reading list? Here’s a few of the titles that we’ve received within the last month or so.
Daddy worked hard and Mama didn’t raise no chicken.
Such is the quote that opens Kirk’s portfolio. Delightfully, following sections of the site contain equally awkward colloquial articulations.
Denis Carrier, working under the moniker Studiofolk, is an Illustrator from France who makes images that are full of good feelings. His work is a great balance of both digital and analog approaches to illustration and exists 50/50 in vector and hand-drawn formats. Denis is also a co-founder of design studio PNTS.
Ana Albero has an incredible illustration style that I can’t get enough of. Working primarily in graphite and colored pencil, Ana creates vibrant textured images of fine ladies and gents from a distantly familiar era often intermingling in an unknown time setting. This particular illustration for the German publication LE MONDE Diplomatique perfectly displays this style, with a dapper man stepping into an eerie office setting where women are steadfastly working with strange stamps. Ana carefully weaves many details in this piece, and successfully does so throughout her portfolio of work, creating memorable and often times humorous images.
Each new piece that I see from Mario Hugo is better than his last. Perhaps it is his unique grasp of what makes a composition beautiful, or the way he uses his incredible drawing ability to render incredibly intricate works of art. Most artists stray from typography in a rebellion of (literally) spelling out their idea to the viewer, but I love how Mario has embraced type and made it a central focus in his work.
Great friend of Grain Edit and infinitely talented designer Gavin Potenza has just updated his online portfolio with a number of strong editorial pieces. You may know of Gavin’s grainy work through these solo projects, or as one half of creative duo Script & Seal with our very own Liz Meyer.
Looks that Kill is the latest installment in the Yuki 7 book series created by one of our contemporary illustration favorites, Kevin Dart. In this new adventure book written by story artist Elizabeth Ito, we get the opportunity to tag along with Yuki 7 and the Gadget Girls, her special task force of ladies, on one of their missions, immersing us in their thrilling world of seduction, espionage, and glamour. Accompanying the fantastic story are new and energetic illustrations by Kevin and 14 other talented artists, such as Meg Hunt and Matthew Lyons. This book is definitely one worth adding to your collection!
Justin Thomas Kay has been a staple in the elusive editorial side of the type world since graduating from Milwaukee Institute of Art & Design in 2004. With clear influences from 70′s display typography (à la Lubalin), J.T.K. really captures an era of typography that focused on the potential of using type as image. As a new venture, he recently opened the Version Type Foundry, and I’m excited to see where this new chapter takes him.
In our current day and age we have a plethora of opportunities to view designers’ sparkling clean, polished work. It’s not as often that we get to view the process or beginnings of this work. Julia Rothman‘s new book, Drawn In takes us into the pages of sketchbooks from 44 artists, designers and cartoonists.
Louis Swart was a packaging Designer in the Netherlands in the 1960s and 70s. Working in the design industry between the young ages of 13 and 40, Swart greatly paved the way for the future of Dutch package design. You can read more about the life and work of Louis Swart as well as view more of his great work at the Graphic Design Museum Blog.
The beginning of the 1960s saw one of the most important steps in the development of corporate communication. Lufthansa employed the designer Otl Aicher and his Gruppe E5 student group to develop a visual identity for for the airline. It was substantially realized in 1963 and up until the present day counts as one of the most groundbreaking corporate design solutions of the 20th century. With a focus on the famous brand identity, the design and advertising history of Deutsche Lufthansa from the 1920s to today is comprehensively documented here for the first time. This volume contains numerous illustrations from the corporate archive and background articles and interviews.
On a recent and most adventurous trip to the South of France, I had the pleasure of visiting the small village of Montolieu. Known as the “Village of Books,” Montolieu has a grand array of artisans that specialize in book binding and printing as well as antiquarian bookstores specializing in everything from vintage periodicals and antiquities to comics, art and kids books.
Love the quality and breadth of work from Ireland-based designer, Duane Dalton. Mr. Dalton has a great minimal, restrained style which relies heavily on a strict adherence to the grid and the sparse use of color.
The name Grady McFerrin should be easily recognizable if you’re a reader of The New Yorker or New York Times, where his illustration work shows up frequently. But, what I like to (of course) focus on is his lovely lettering style. The thing that makes Grady’s work unique is the un-rendered, folk quality of his text; paired with his minimal color palette, he manages to create pieces that could have come straight out of early Americana. What Grady does is highlight the old and oft-forgotten, and sends the viewer a beautifully nostalgic feeling of the past.