For the eighth year running, Domenic Lippa and his team have designed the visual identity and promotional materials for London Design Festival, one of the biggest events in the design world. Running from 13th-21st September across London with the V&A as its centre, the Festival includes exhibitions, talks and workshops about a range of design disciplines.
London is a huge and unplanned city where even the most experienced visitors can lose their way. This year Lippa is honouring London’s chaotic nature by challenging visitors to “Lose yourself in the London Design Festival”.
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Teetering at ever-higher heights and in endlessly inventive styles, shapes and materials, high heels are the most desired fashion objects in the world. Killer Heels: The Art of the High-Heeled Shoe is a major exhibition at the Brooklyn Museum that explores the cultural history of the high heel and its associations with power, sex and fantasy. Pentagram’s Abbott Miller has created a catalogue for the exhibition that showcases the shoes as extraordinary works of art and design.
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This week, six human rights activists are being celebrated in a mural on Great Eastern Street in London. The 60 square metre wall is Harry Pearce’s latest collaboration with human rights charity WITNESS.
Do you have any questions for Harry Pearce about the wall or his twenty-year partnership with the human rights charity WITNESS? Join us for a live Q&A with Harry on Twitter on Friday 12 September between 4pm – 4.45pm GMT.
Tweet your questions to @pentagram with the hashtag #WITNESSlive.
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This week, six human rights activists are being celebrated in a mural on Great Eastern Street in London. The 60 square metre wall is the combined work of Pentagram and six street artists. It will be displayed until 13 September.
It is Harry Pearce’s latest project with WITNESS, an international organisation that trains and supports people to use video to fight for human rights. Every year, Pearce and his team at Pentagram prepare posters and invitations for WITNESS’ annual fundraiser in New York. The East London wall is the basis for this year’s printed materials and a film of its construction will be released in the run up to the fundraiser on 16 October.
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Pentagram’s Abbott Miller surveys his work for the first time in Design and Content, a new monograph out today from Princeton Architectural Press. For the book, Miller assumes both roles of designer and author, presenting his work as a catalog of design strategies that emerge from the unique circumstances of form and content.
Miller takes readers through projects ranging from books, magazines, and identities to exhibitions, environmental graphics, apps and wallpaper. The book includes a diverse range of projects for clients such as Harley-Davidson, the Guggenheim, Vitra, Knoll, Formica, and Rolling Stone, as well as Miller’s pioneering work as an art director and editor, most notably for the visual and performing arts foundation 2wice. The book highlights his collaborations with artists such as Matthew Barney, Yoko Ono, William Kentridge, Twyla Tharp and Merce Cunningham, and architects Thom Mayne (Morphosis), Tod Williams and Billie Tsien, and Diller Scofidio + Renfro.
The book features a foreword by Rick Poynor and an essay by Ellen Lupton. The book also includes a new essay by Miller, as well as three pieces originally written for Eye. A roundtable conversation on contemporary design practice with fellow Pentagram partners Michael Bierut, Eddie Opara and Paula Scher concludes the book.
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The campaign for the 2014-2015 season at the Public uses dynamically skewed typography.
Pentagram’s Paula Scher puts a new slant on her iconic identity for the Public Theater in the campaign for the institution’s 2014-2015 season, launching this month. Designed with Kirstin Huber, Senior Graphic Designer at the Public, promotions for the upcoming slate of productions use skewed typography for a dynamic take on the theater’s signature look. The campaign marks the 20th anniversary of Scher’s continuing collaboration with the Public.
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Circular is the members magazine of The Typographic Circle, the non-profit, all-volunteer organisation for anyone with an interest in type and typography. Designed by Pentagram’s Domenic Lippa and Jeremy Kunze, the latest issue of the publication, Circular 18, puts type front and center with a layout that is almost entirely typographic. Circular 18 is the tenth consecutive issue designed by Lippa and his team.
The Typographic Circle prides itself on providing a platform for a number of voices, and is known for its series of diverse monthly lectures by leading industry figures, as well as the London presentation of the annual New York Type Directors Club exhibition. Speakers at Circle events have included Trevor Beattie, Stefan Sagmeister, Ken Garland, Jonathan Barnborook, Anthony Burrill, Rick Poynor and Sir John Hegarty, among others. Lippa has had a long-standing relationship with the organisation, having served on the committee for many years and also as its Chair.
These many different voices come into play in the new Circular. Each edition of Circular is individually designed, giving Lippa and his designers an opportunity to explore different typographic solutions. The previous issue, Circular 17 (from 2011), was completely visual. For the new issue, Lippa wanted to create a design that was predominantly typographic. Titled “Words & Images,” the new issue features a series of interviews with previous guest speakers conducted by Lippa himself, as well as other members of the Circle executive committee, including current chairperson Alan Dye of NB Studio, Louise Sloper and Val Kildea.
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This year’s edition of The Atlantic’s annual Ideas issue focuses on creativity and “how genius happens.” To celebrate the theme, the magazine invited three leading artists and designers to create images for a collection of cover for the issue, each highlighting a different aspect of creativity.
For his cover, Pentagram’s Eddie Opara rendered the brain as a colorful network of lines and connections. The illustration accompanies “Secrets of the Creative Brain,” an article by the neuroscientist Nancy C. Andreasen about the brain processes that foster creativity. In his note about the cover series, Atlantic Creative Director Darhil Hooks says Opara presents “the brain—an unfathomably complex organ—as an object both simple and beautiful.” Other covers for the issue were created by Shepard Fairey and Geoff McFetridge.
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The ongoing series of typographic posters designed by Pentagram’s Michael Bierut for the Yale School of Architecture has made use of literally hundreds of different fonts since the series began in 1998. For the poster announcing the school’s fall 2014 lectures and exhibitions, Bierut and designer Jessica Svendsen wanted to try Maelstrom, an unusual new font by Kris Sowersby of Klim Type Foundry. The reversed-stress typeface makes the typically thick strokes of a letter thin, and the thin strokes thick. The font’s architectural quality is brought out in the poster, which stacks the letterforms and their heavy horizontals into a typographic structure. (The designers made some small modifications to the “E” and “F” to slightly improve legibility.) The school’s circular “Y” emblem also appears in Maelstrom.
Project Team: Michael Bierut, partner-in-charge and designer; Jessica Svendsen, designer.
The third edition of EXEL, the annual research magazine published by Drexel University in Philadelphia, begins hitting mailboxes this month. The new 2014 issue was designed and produced by designer Carla Delgado in Pentagram’s Austin office, with DJ Stout serving as art director and partner-in-charge. The Pentagram team, working with programmer Hunter Cross, also developed EXEL magazine’s online counterpart, exelmagazine.org.
The latest issue of the award-winning publication features an eye-catching shot of PVC pipe on its cover. Yes, PVC pipe—plastic pipe. The magazine’s distinctive cover format unfolds to reveal the name Drexel, a large graphic letter “X,” and a striking image of the blue pipe. Like the previous issues, the third edition of EXEL features a wide array of visually dynamic scientific photography, illustration and infographics, which are used in inventive layouts to express Drexel’s rich research narratives.
“Our emphasis is on featuring the research—the actual subject matter of the research—not just the researchers,” says Stout. “We believe science and research is inherently interesting.”
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