Erik Berglin: The Bird Project by Lundgren+Lindqvist
Posted: Filed under: Art and Design, Graphic Design Reviews | Tags: Art Book, Book & Magazine Design, Book Design Review, Branding Agency, Design Blog, Design For Print, Design Inspiration, Design News, Design Opinion, Design Reviews, Design Reviews: Editorial Design, Designed by Lundgren+Lindqvist, From Scandinavia, Graphic Design, Graphic Design Blog, Swedish Design, The Best Design for Print 2020, The Very Best of 2020, Typography Comments Off on Erik Berglin: The Bird Project by Lundgren+LindqvistText by Richard Baird.
Erik Berglin is Stockholm-based contemporary artist. His work is flows from his understanding that some people find the art gallery uninviting and uncomfortable, and the artworks displayed as requiring insight to really appreciate. He himself has said that he dislikes 90% of the exhibitions he visits but adores the 10%. This clearly informs his work, which often brings the unexpected into the urban space or uses modern technologies to subvert the familiar. There is a beauty and playfulness to his work, an appealing aesthetic, but also an idea, an aha moment, for those that want to look deeper.
Beauty and the unexpected are central to Berglin’s The Bird Project. Over the last twelve years, having studied birds from antique books by the likes of J.J Audubon, the artist scanned pages from ornithology resources found in antiquarian bookshops and libraries and printed birds out at their actual size. He spent time with a scalpel and scissors carefully cutting these out and then wheat-pasted them in urban contexts around the world, documenting these as he went. From start to finish, a total of 4982 birds were wheat-pasted in twelve cities over five continents. These have been brought together in a new book, ‘The Bird Project 2006-2017’ designed by Lundgren+Lindqvist and published by ll’Editions. This is a 208 page hard back book 207×280mm in size. It features 101 plates printed using a process that substituted regular CMYK colours of the offset printing process with fluorescent alternatives. The book is also available as a special edition of 30 copies, which were divided into three sets of ten books. Each is presented in fluorescent acrylic glass slipcase with an inkjet print, signed and numbered by the artist.
Brigade Court by Jack Renwick Studio
Posted: Filed under: Logo Reviews, Property | Tags: Art Direction, Best Brochure Design 2020, Brand Identity, Brand Identity Reviews, Branding, Branding Agency, Branding Blog, Branding News, Branding Reviews, Brochure Design, Corporate Identity Design, Design Blog, Design For Print, Design Inspiration, Design News, Design Opinion, Design Reviews, Designed by Jack Renwick Studio, Designed in London, Fonts in Use: Calibre, Fonts in Use: GT Sectra, From the United Kingdom, Gold Foil, Gold Ink, Graphic Design, Graphic Design Blog, Logo Design & Branding Blog, Logotypes, New Logo, Property Development Logos, Sans-serif Typography, Stitch Detail, The Best Brand Identities of 2020, The Best Design for Print 2020, The Very Best of 2020, The Very Best of BP&O, Type Foundry: Grilli Type, Type Foundry: Klim Type Foundry, Typography, Visual Identity Design Blog, Wordmark Design Comments Off on Brigade Court by Jack Renwick StudioText by Richard Baird.
In The London Borough of Southwark sits the Grade II listed building and former headquarters of the London Fire Brigade, the city’s first fire station and a site currently under development. This will see it transformed into residential apartments with period conversations of the original Victorian building alongside a modern new-build. It is a one-of-kind property development that offers a unique intersection of historic and contemporary city living. London-based Jack Renwick Studio (JRS) were commissioned to develop the name, visual identity and communications for this new development, and were challenged with the task of appealing to both local and international markets.
Under the concept “Traditionally Different”, JRS developed the name Brigade Court and a visual language of juxtapositions. These celebrate the distinctive contrasts that exist throughout the property. These juxtapositions move between the elegant and sophisticated materiality of the brochures, the intersection of modern and historic images, and then towards moments of playfulness throughout the property’s marketing suite, which also features a deli and cafe. The visual identity links a variety of different touch-points, from property and floor-plan brochures to custom framed photo-montages, coffee cups, menus and window decals.
Inside Lottozero by Studio Mut
Posted: Filed under: Art and Design, Graphic Design Reviews | Tags: Art Book, Artist Books, Book & Magazine Design, Book Design Review, Branding Agency, Design Blog, Design for Cultural Institutions, Design For Print, Design Inspiration, Design News, Design Opinion, Design Reviews, Design Reviews: Editorial Design, Edge Painted Detail, Editorial Design, From Europe, Graphic Design, Graphic Design Blog, Italian Design, Material Thinking, Screen-print, Studio Mut, The Best Graphic Design Work of 2016, The Very Best of 2016, Typography Comments Off on Inside Lottozero by Studio MutText by Richard Baird.
Inside Lottozero was an exhibition of international artists that covered a wide-range of artistic disciplines. It was conceived by Arianna and Tessa Moroder and curated by Alessandra Tempesti. The exhibition took place at Lottozero / textile laboratories in Toscana, Italy and ran until November 20th, 2016. Under the concept of “Non-stop Fruition”, the exhibition opened with a 12 hour overnight event in which people were invited to stay and immerse themselves and connect more deeply with the artwork. This included
The exhibition catalogue is a hardback 184 page book, edited by Tessa and Arianna Moroder, curated by Alessandra Tempesti and designed by Studio Mut. It features the 13 exhibiting artists, brings to light how wide-ranging textile art and research can be and is a tri-lingual publication that threads together English, Italian and German. These languages are graphically interwoven, with each language delineated by its orientation on the page.