Complete Set of Photos Here
During the holidays I stopped in at a used book store and came across a wonderful photography book by Canadian artist, Roloff Beny. ‘To Every Thing There is a Season: Roloff Beny in Canada’ is a photographic essay exploring Canada during the 1960’s. The book contains poems, landscapes, portraits, architecture, and graphic design that is visionary for the time it was printed. Like a Boards of Canada album, the book puts my mind in a cozy, nostalgic place.
A little research reveals that the book was the official Canadian gift to visiting heads of state during the country’s 1967 centennial year. He’s also authored a number of other acclaimed photography books I’m hoping to pick-up in the near future.
Beny’s work is included in the collections of The Metropolitan Museum and the Museum of Modern Art in New York, the National Gallery of Canada and the Art Gallery of Ontario. In 1971, he was made an officer of The Order of Canada. In 1984, at the age of 60, Beny passed away from a heart attack in his Roman studio overlooking the Tiber.
You can view a more complete set of photos in this FLICKR SET I put together.
Posted by: Owen Perry | Instagram: @circa_1983
Blog and personal favorite visual artist Leif Podhajsky just updated his site recently, and as usual, mind blown!. Most notably: Dan Croll’s ‘From Nowhere’ 7″ artwork (first and second images).
Branding 10,000 Lakes is a project or massive undertaking by Art Director and Graphic Designer Nicole Meyer.
Lake logos have a tendency to be, well, fairly ugly. This project was created to rethink what they could be.
One Minnesota Lake. One Logo. Every day.
Should only take a little over 27 years to hit ’em all. Stay tuned and enjoy!
– Nicole Meyer
Who wants to get something similar going for California State Parks, which continue to be in danger of being affected by massive budget costs, some might even be closing soon? Just throwing it out there…
You can follow Branding 10,000 Lakes on:
Just came across this great Flickr set of The Canadian Architect covers from 1964-67, designed by Laszlo Buday.
Also, sorry for the abscence of this weeks’s Weekend Inspiration post. I’ve been helping out Tycho with the first leg of this summer tour dates, so haven’t had much time to post, but next Friday it’s back to business as usual.
Posted by Jonathan (B3PO)
Room557 is the recently launched blog of Academy of Art University instructors Hunter Wimmer and Anitra Nottingham. I’ve had the good luck of studying under Hunter numerous times at the Academy. His advisement has been instrumental in pushing me to improve my work at every step, and I wanted to share one of his teachings that has had an important impact on my design education.
Hunter was responsible for giving me my first (but sadly not my last) failing grade, and although it was hard to stomach at the time, it was a much needed wake up call. Up to that point my barometer for successful design was how “cool” something looked. I didn’t understand the importance of having a strong concept, choosing appropriate typefaces, or using relevant materials. I saw little value in learning how to comp, bind, or print on anything other than my Epson. I didn’t understand the importance of these things because I wanted to be a designer, not a salesman, typographer, printer, or bookbinder. Thankfully Hunter was there to explain Why “It” Matters:
Would you trust a civil engineer — who’s responsible for the stability of bridges and the like — if there was a math error on their cost-estimate? Would you trust a mechanic who drives a broken-down hatchback? Would you trust a personal trainer with love handles? Now, I don’t care if my engineer has love handles or if my personal trainer drives a smoking Hyundai, but there are minimum expectations in each profession. In order for a personal trainer to convey a sense of health and well-being (and that they’ve mastered it enough to pass it on to me), they should also be fit, right?
Where does that leave the graphic designer?
When you fail you can take it one of two ways: as a rejection of yourself, who you are and your talent as a designer, or as practice, an experiment that isn’t successful… yet. Once I was able see the latter I could ask myself what was expected of my work and where it was falling short. As designers we are called to be communicators, aesthetes, conceptual-thinkers, and craftsmen. Now that the dust has settled from another semester it’s nice to go back and be reminded of what we’re called to do, why it can be frustrating, but ultimately what makes it so fulfilling when countless hours of practice result in that brief moment of success, before we go back and repeat the whole process all over again. If you are a designer or have any interest in the profession, Hunter’s informative post is well worth the read.
Tom Eckersley (1914-1997) was an English poster artist known for his use of bold, bright colors and simple block shapes. During WWII he was a cartographer for the Royal Air Force and created designs for the General Post Office. In 1947, Art and Industry magazine described his approach to design as scrapping the “non-essential, by the perfect mating of chosen word with chosen picture, he wings the total message.” A year later he was awarded the Order of the British Empire for his services to poster design.
The Visual Arts Data Service has a great collection of his work.
via VADS & WW2Poster
These fantastic spreads were designed by Bradbury Thompson for Westvaco Inspirations in the 1950s and early 60s.
Westvaco Inspirations was a graphic arts publication issued by the Westvaco Corporation, formerly named the West Virginia Pulp and Paper Company, with the objective of showing typography, photography, art work and other graphic inventiveness on papers manufactured at its mills. Because Westvaco Inspirations was intended to demonstrate printing processes and papers, its primary audience consisted of 35,000 designers, printers, teachers and students.
Thompson designed more than sixty issues of the magazine over eighteen years and utilized a variety of printing methods, including letterpress and offset lithography. Tons more great scans at Typogabor.
via Matthew Lyons
Fantastic cover designs by Gregory Vines for Swiss typographic magazine Typografische Monatsblätter.
via The New Graphic