Lisa Rienermann‘s Type the Sky series is reminiscent of the big city tourist’s point of view. The tops of metropolitan buildings squeeze in the sky to form a unique alphabet. Rienermann uses the negative space, the small patches of cloudy sky, between roofs to as the structure of a fun typography. The font has been understandably popular. The series received an award from the Type Directors Club New York. It was also used by Mercedes and Renault for respective advertising campaigns.
It’s a tricky thing, viewing the work of artist Ben Skinner—you catch yourself reading, absorbing, appreciating and simultaneously fighting the urge to snap a photo and immediately re-appropriate his multimedia text works to your own blog/Instagram/Twitter. Using an intriguing selection of materials (ranging from gold foil to neon to sprinkles), Skinner elegantly spells out heartbreaking phrases ripped from the Zeitgeist, with a little extra flair. The witty, multicolored multimedia works tow the line between design and art, with a little extra emphasis on drawing, craft and the making of an actual object. Many of his works could easily find a life as a piece of printed design, but it’s Skinner’s willingness to experiment with materials that allows his flat, graphic works to go one step further into the realm of something more substantial.
A stunning collision of tactile, CMYK color, the work of London’s Evelin Kasikov lies squarely between object and image—a seamless combination of craft and design. After spending a decade working in advertising, Kasikov decided to expand her scope as a graphic designer by incorporating embroidery techniques into her work. Her approach to the craft is analytical, using her well-developed typographic skill set, grid systems, design techniques to challenge the preconceptions of embroidery as a system of making. Kasikov’s basic process is to map out the composition for each project, then she hand-stitches each image with a cyan-magenta-yellow-kohl breakdown, similar to offset printing processes. The resulting work is graphically rich, and brings an element of handwork back into the graphic design process—something that adds a layer of complexity and humanity to work that would otherwise be purely computer-generated.
Ryan Everson’s installations speak to longing and loss and the desire for movement and displacement. There is something hopeful and comic about some of his work, accompanied by a tinge of despair as it addresses boundaries of what is and what could be. His work feels perpetually on the cusp of some sort of change or movement, of travel to another place, whether that be physical, emotional, or spiritual. Everson’s work embodies something of memory, though we can’t say of what, but that it definitely exudes a nostalgia for absent events or places. “My most recent work comes from abstract emotional states stirred up from specific self-reflective moments. These moment arise as I become more aware of myself in the present and my inability to control the future.”
You may have already seen Luke Lucas’ typography work, but weren’t aware of it; he’s created designs for companies like Target, Nestlé, The New York Times, and Barnes & Noble. He’s also done work for exhibitions and creates his own fonts. Some of the more humorous and elaborate text designs are reminiscent of Wayne White’s word paintings. Of his work, Lucas writes, “I love that the same word, passage or even letter can be treated in bunch of different ways and embody entirely different meanings… That and through subtleties like a slight shift in line weight, the elongation of a tail or the arc you use, a letter can go from contemporary to traditional or happy to sad in a single stroke…”
Ice Man, beauti-loser, and love letter scribe Steve Powers is hitting NYC’s Joshua Liner Gallery with a solo show on September 6th. You can expect some pretty tasty typography and graphics from the artist this go-round. The show is entitled A Word is Worth A Thousand Pictures and is definitely one to check out in person. The works on display range from 10-x-8 in. to 10-x-10 feet, and include Powers’ “Metaltations”- spontaneous enamel works on aluminum. And if you can’t make it over to Chelsea before September 29th, check out a preview of the show below.
Serbian designer Bratislav Milenkovic’s imagery sits at the intersection of typography and illustration usually combining the two to create cleaver and playful images. Morre Typography fun after the jump.
We still have a month left of summer, but autumn will be here before we know it. And that means leaves. Everywhere. Here’s a cool little typography project to help ease the transition from season to season. Twan van Keulen is a graphic designer from the Netherlands. In a series called Falling Leaves, Van Keulen cut letters and symbols out of leaves and scanned the results, effectively creating a unique (well, it is kinda based off Helvetica) set of typography. (via)