Amy Henderson of AQ-V recently acquired a large collection of old United Nations stamps:
Because the UN is an international organization, its stamp must bear symbols that will be recognized universally. Besides the beauty of the design, the UN Design Committee must consider the political implications of any symbolism used. Naturally none of them can stand for anything contrary to the standards and principles of the United Nations, nor can they represent any one culture, religion, or race.
It was the Design Committee’s suggestion that the official five languages—Chinese, English, French, Russian, and Spanish—should be used on as many of the stamps as possible. This was the origin of the “five-language border” which has become characteristic of UN stamps.
This set is the first post in a multi-part series, and I can’t wait to see the rest. In the meantime you can check out David McFarline’s flickr collection or previous posts for more stamp goodness.
I had the pleasure of meeting fellow San Francisco artist Amy Franceschini yesterday. Amy is from the design studio Futurefamers, a group of people who create “platforms for sociability within new media spaces; internet, wireless devices and public space”. I remember being aware of — and influenced by — their work when I was starting out in design but this recent meeting prompted me to take a look at what they’re been up to in the years since.
As you can see, their output doesn’t exactly fall within the scope of your average design studio — although they did design the Twitter logo. This excerpt from Amy’s bio sums up the themes I find most interesting in the work “[she] creates formats for exchange and production that question and challenge the social, cultural and environmental systems that surround her. An overarching theme in her work is a perceived conflict between humans and nature.”
Aesthetically pleasing and challenging at the same time, really great to see people doing work like this.
Fantastic cover designs by Gregory Vines for Swiss typographic magazine Typografische Monatsblätter.
via The New Graphic
Gurafiku has an extensive archive of Japanese graphic design from the 1800s to today. In particular, the vibrant work of the 60s by greats like Yusaku Kamekura and Ikko Tanaka caught my eye.
Check out the rest of the set here, or see the previous post on “Graphic Design” magazine for more of their work.
Some great work by Helmo from France. I especially like their Jazzdor 11 and
Beast Mode Fashion Animals projects. The type and imagery in their work seem to complement one another just right.
You can check out more of their work here.
Erik Nitsche is a favorite at ISO50 (see posts here, here, and here), and I was disappointed when the Flickr stream compiling his work went down (mainly because I missed the chance to check it out). Luckily, Matthew Lyons and Galerie 123 (where you can purchase some of his original prints) are here to lend a helping hand.
Galerie 123 via Matthew Lyons
You may have noticed I’ve been a little less prolific around here lately; finally I can tell you why. I’m very excited to say that as of last November, I dropped out of my MFA program and am a cofounder of Firespotter Labs, a startup funded by Google Ventures. As cool as the concept of “stealth mode” sounds to me, I am decidedly *not* used to *not* writing about what I’m doing. Finally my sneakiness is over! In this post I want to talk a little bit about what it’s been like working full time at a startup, as well what went into the decision to drop out of my design program five months away from graduation. I really couldn’t be happier.
Of course all this would be more interesting if you knew exactly what we were doing. I wrote our About Us the other day and it’s spectacularly vague, so if you want to find out a little more, there were nice articles in The New York Times and Techcrunch last week.
Continue reading →
This is the work of OK-RM, a London based design studio. The style reminds me a lot of Sulki and Min and maybe a little bit of Qubik. I enjoy this style; where type is placed all over the page, in a seemingly gridless manner, while still maintaining a sense of balance and proper hierarchy. To me it shows a kind of fearlessness, and a clear love of letterform.