Harry Pearce explains why he decided to make a poster out of his own blood.
I was recently asked to create a poster for the ‘Questioning the Bomb’ exhibition launching at the Art Gallery of Maryland in the US this September.
The exhibition marks 70 years since the twin nuclear bombing of Hiroshima and Nagasaki in 1945, a moment that still resonates as one of the most shocking in human history.
The visual idea and the line came simultaneously. I was looking at ink drops underwater, for a completely different project, and when I turned the picture upside down I saw the mushroom cloud.
Great protests need great placards. They are an essential part of direct action, hoisted by modern-day standard bearers, proclaiming a stance to the world. But all too often their messages are lost in the throng, amongst earnest messaging and scrawled angst.
For the People’s Climate March in London last Saturday, Naresh Ramchandani and team created a unique set of placards that would be able to stand out from the rest. They needed to reflect how social media has altered protest, allowing dissent to take place online as well as on the streets.
This week, we are giving away twelve signed, limited edition A1 posters by Domenic Lippa and Jeremy Kunze. The posters are inspired by four interviews in ‘Circular 18’, the latest edition of the Typographic Circle’s members magazine, which was also designed by Lippa and Kunze.
We’ll be giving away three copies of each of the posters every day until Friday on our Twitter. To be in with a chance to win all you need to do is retweet one of our daily Tweets about the giveaway.
In his classic novel Around the World in 80 Days, French author Jules Verne envisioned the future of travel and globalization bolstered by the technological advances of the late nineteenth century. The current exhibition at the Museum für Kommunikation in Berlin, In 80 Dingen um die Welt: Der Jules-Verne-Code (Around the World in 80 Things: The Jules Verne Code), explores the history of globalization via the route in Verne’s novel, taking visitors on a voyage of discovery around the globe and across time as told through 80 objects directly related to the story.
Pentagram’s Justus Oehler and his team in Berlin have designed the visual identity for the exhibition, which has been applied to posters, leaflets, and outdoor promotional banners. Pentagram also designed the 260-page exhibition catalogue and a series of three billboard posters displayed in subway stations around Berlin.
Harry Pearce and team have created four new posters for the Royal Academy of the Arts. The posters implement the new design system that Pearce created for the 245-year old institution in 2012.
Quick Link: Paula Scher Interviewed on Poster Poster (Video)
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”.
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.
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.