The world of graphic design is not stagnant; it's a vibrant field of constant evolution, so let's see what are the biggest trends in Graphic Design in 2024 and get inspired for your future projects.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
Available again, the enduring, iconic volume showcasing the key early-career work and process of the godfather of modern graphic design, with a new preface by the author Milton Glaser: Graphic Design, perhaps the most famous book of its kind, explores the early decades of America's pre-eminent graphic artist. Glaser's work ranges from the psychedelic Bob Dylan poster to book and record covers; from store and restaurant design to toy creations; and magazine formats including New York magazine and logotypes, all of which define the look of our time. Here Glaser undertakes not only a remarkably wide-ranging representation of his oeuvre from the incredibly fertile early years, but, in a new preface, speaks of the influences on his work, the responsibilities of the artist, the hierarchies of the traditional art world, and the role of graphic design in the area of his creative growth. First published in 1973, Milton Glaser: Graphic Design is an extraordinary achievement and indisputably a classic in the field.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
29 x 44 in. (74 x 112 cm) Silkscreen Condition: Excellent Paula Scher (1948-) is one of the most influential and celebrated graphic designers in the United States and internationally. Scher found success in the early part of her career designing album covers, and she became known for her expressive and illustrative use of typography. Scher has been a partner at Pentagram in New York since 1991. Her logos and identity systems for both arts organizations and large corporations are some of the most recognizable in the world. In 1994, the director of New York’s Public Theater invited Scher to design posters for the theater's upcoming season. The remarkable silkscreened posters for that season, including this striking example for a play about a boxer, launched an iconic and still-active collaboration between Scher and the Public. Her design responsibilities soon expanded to include the Public’s entire graphic identity. Scher based the typography for her Public posters on American wood type, applied in various weights to create added interest. She looked to the Russian Constructivists for inspiration as well, particularly the movie posters of Vladimir and Georgii Stenberg, applying a similar visual language of bold flat colors and diagonal compositions to create dramatic effects. For a fascinating in-depth account of Scher’s work for the Public Theater, take a look at her recent book, 25 Years at the Public: A Love Story.
Luisa Russo is a young artist who, since early start of her research, was interested first in graphic design and then in constructive dynamics, trying to explore new creative options in formal aspects as well as in technical, operational, speculative ones, in materials and contents, where the bond between art and technology, or art and science, is always a difficult one to decipher. As to the “legitimacy” of new tools used in art and creativity, the artist brings light with her surprising identity: observing, analysing, building up a hypothesis. In other words, she knows how to create links between “idea” and “creating an idea” in relation to materials, technologies and information available, where “geometry and human” and “idea and poetry” come in relation together and complement each other. Starting from the assumption that in the real world nothing is defined or definable, her research represents the rationalist spirit which, starting from basic principles, intuitively or experimentally identifiable -such as the axioms of Geometry or the principles of Mechanics and Physics-, tries through a deductive process to be able to develop new problems and to find new aesthetic solutions where nothing is left to the randomness of improvisation. Even the irrationality is guided by the compactness of the “shape”, so that even the substance making the artwork becomes conscious stratification of different moods: in this way in Luisa Russo’s artworks one can observe the miracle of the pacific coexistence between the “motives of the heart” and the “motives of the intelligence”, in accordan- ce with the author’s unexposed faith in the consistency between aesthetic and ethic conscience. In her scientific similarities and correspondences, her work is for her on the verge of not only the phenomenon world, but also of an approach to research based on and explained through its features and its constructive elements. Despite trying to carry forward a research that is not only a sort of optic-vi- sual game, where the dynamics of creating the artwork bring up a rational emotional participation of the viewer, Luisa’s work is “shape” turning into “structure” - “content and container”: their functioning leads to a process of transformation which doesn’t necessarily lead to the “diverse”, but to the mutation of the work with respect to the perception of it, also beyond its space, the space occupied by it and the space that remains beyond the viewer’s perception capabilities. In her work one can see The formal perfection, the shape The inspiring thought, the content The power, aesthetic value The beauty, corresponding to the true and to the world of the ideas in Aristotle’s terms. We could say that the research brought forward by the artist is a flow that goes directly from the artwork to the viewer, where the artwork’s emotional power projects itself in those who look at it and touches them emotionally. On the contrary, the expressive value, or structure, goes from the viewer to the artwork: “I observe a painting and am able to appreciate it: thanks to my sense of aesthetics and to my knowledge I decipher it and can understand “what’s behind it”. Visible out of the invisible. Shape is the skeleton of the artwork, content is its brain; The expressive value or structure is the beauty of the face and of the body, the aesthetic value is the heart.
A portfolio showcase of the work done by Kyle Low, since 2012 up till early 2015, which includes graphic design work, photography and illustrations.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
"The early twentieth century was the most significant period of all in the development of modern design.... The design profession was born, and with it came the beginnings of corporate and graphic design as we know it today." -- Jens Müller, Pioneers of German Graphic Design The first few decades in 20th century Germany were tumultuous years, a veritable Cambrian explosion of innovation which shaped the world of visual communication that we now take for granted. For example, they introduced the "object poster" which filled public spaces with large colorful images for the first time. They were fun and eye-catching, persuasive and entertaining. Most of all, they were visually easy for strolling crowds to read. The poor man's art museum, they transformed public boulevards into art galleries and revolutionized the worlds of advertising and design that followed. Then there was the new use of design to embody corporate identity, including the invention of the modern corporate logo. Modern typography was invented and the rapidly developing science of photography was applied in new ways, such as photomontages. I've previously written on this blog about German designer Peter Behrens, the visionary who met the industrial revolution with comprehensive designs for the new man made environments. But I never appreciated the cumulative role that Behrens and his contemporaries in Germany played in transforming modern visual communication until I read the admirable new book by Jens Müller, Pioneers of German Graphic Design. (Callisto Publishers, 2017). The 1,000+ high quality illustrations in this encyclopedic book speak for themselves, and make a highly persuasive argument. This 1925 car ad could easily appear in a magazine today, nearly 100 years later. But beyond the images, Müller's text is a well-written, thoughtful analysis of the ingredients that gave rise to an era of such artistic ferment. He writes: "To trace the history of modern visual communications and explore why such major innovations came from Germany requires a detailed understanding of the social and economic circumstances of the Epoque and order to identify the developments generated demand for modern commercial design in the first place." Müller's exploration centers on fourteen pioneers of design, most of whom were previously unknown to me but all of whom I found deserving of attention. I was particularly impressed by the work of Julius Klinger and Wilhelm Deffke. He tracks how the industrial age changed production, transportation and distribution of goods, which contributed to vast social and economic change (and sharp divisions between social groups). The new accessibility of printing helped to evade the constraints of previous far reaching government censorship of printed materials. These and other elements fused to transform advertising form and content, and amplify the role of graphic design. Müller's expertise in discussing these issues is truly impressive. Many of the readers of this blog are already familiar with the brilliant German graphic art publications of the era, Jugend and Simplicissimus, which were so influential on American illustrators. Pioneers of German Graphic Design shows that those two publications were just the tip of the iceberg, and how German innovations in design later transformed the field.
Ever found yourself diving deep into Canva’s vast design pool, only to feel a tad overwhelmed or, dare I say, lost? I’ve been there too—spending what felt like…
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
Get talking with graphic design people, and Japan will come up sooner or later. That country, always a world leader in aesthetics, has put the time and energy of generations into perfecting the discipline.
Melbourne based graphic designer Alexandra Ethell offers these gorgeous collages on her Etsy shop, under the name "in the early hours". She has a mild case of insomnia, and that is when she gets these weird and wonderful ideas for her kitsch, retro & minimalist collages. Check out her shop for more cockatoos, kites and giant cranes. VIA King of senses Tweet Share
Take a look at design through the decades from the 1900s up to the present-day in the first of this two-part series.
Y2K mobile phone art print reading "Do No Harm, Take No Sh*t"! Digitally designed with love and printed in house onto high quality 170gsm matte photo paper! Remember the images are for illustrative purposes, and there may be slight colour discrepancies due to varying monitor/device settings. The type of paper used also may contain small dark spots - which I try to limit as much as possible. The finished piece comes without a watermark, and the frame is NOT included. Every piece is packaged with love and the utmost care to ensure safety during transport. For sizing, I offer A3, A4 and A5 prints - please refer to the measurements below when placing an order (A5 may slightly differ as they are cut by hand): A5 : 5.8” x 8.3” (148 x 210mm) (14.8 x 21cm) A4 : 8.27” × 11.69” (210 × 297mm) (21 x 29.7cm) A3 : 11.7” x 16.5” (297 x 420mm) (29.7 x 42cm) I accept customs and commissions, just send me a message with the deets and I'll try to make your visions come true! Thank you so much for checking out my work and have a lovely day! Tiff (aka RubyRollerArt) ☺
An irreverent, artful antidote to GPS appification, or what the NYC subway has to do with tsunamis.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
If you’re a designer in the 21st century, chances are you’ve studied the International Typographic Style (more commonly known as ‘Swiss Style’). Let’s take a moment to honor some of modern design’s…
What does Matt Willey know about type? Not much he’d have me believe. “I’m not a type designer,” he says, “I’m a graphic designer who enjoys pissing about with type.” Yet the use of custom typography has played a defining role in his magazine making, from early days arranging letterpressed letterfor
Niyi Adeogun is a Nigerian interdisciplinary artist, design engineer, creative entrepreneur and creative director. Niyi has always had a passion for art and design since his early childhood years. He kept his zeal on hold for a while, until 2015 when he began to explore his faith, which led him to go into graphic/digital arts. He finished at UPEI with a B.Sc in Sustainable Design Engineering, which developed his skill in taking a sustainable approach and creating environmental-friendly solutions for clients. The PEI Art Bank recently purchased two of his artworks, and he was nominated for a Charlottetown Arts and Culture Award in the Emerging Artist category.
A closer look at the Apple logo's journey, from its quirky beginnings to the clean, iconic design we all know today.
The very first graphical user interfaces hit computer screens back in the early 1970s and the impact of their appearance was so huge that we’ve never
Poster Design Collection inspred by iconoc artist David Bowie by Zeka Design, abstract shapes and colorful design.
Finella Kusworo's graphic design portfolio. This portfolio is a compilation of my works from 2012 until early 2015.
What does Matt Willey know about type? Not much he’d have me believe. “I’m not a type designer,” he says, “I’m a graphic designer who enjoys pissing about with type.” Yet the use of custom typography has played a defining role in his magazine making, from early days arranging letterpressed letterfor
