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  • Volume up the logos! Twitter celebrates Yuri Suzuki's Sound in Mind exhibition

    Forming part of this year’s London Design FestivalSound in Mind on Design Museum is a collection of interactive pieces created by renowned sound artist and Pentagram partner Yuri Suzuki.

    In the exhibition, Suzuki showcases past works and new interactive pieces that demonstrate his creative practice. Featuring large-scale sound installations alongside experimental product design, the free display on the first floor of the museum’s atrium is divided into distinct sections, with works ranging from experimental product design to large-scale sound installations.

    Suzuki explores how we navigate and connect to the surrounding world through sound, and how new technologies can be made more relatable through novel implementations of sound design.

    Pentagram's stenciled new visual identity for Pink Floyd Records

    Yuri Suzuki is an experience and sound designer who works at the intersection of installation, interaction, and product design. He joined Pentagram as a partner in 2018.

    His work encompasses sound, music, installations, product design, art direction, education and contemporary art for renowned clients ranging from corporations to musicians to startups. Projects include a bespoke musical instrument for will.i.am, techno DJ legend Jeff Mills and the AR Music Kit – a music-based augmented reality android app turning paper into instruments for Google.

    Yuri Suzuki meets Jeff Mills from Design Museum on Vimeo.

    Suzuki was born in Tokyo in 1980. After studying industrial design in Tokyo, he worked for the Japanese art unit Maywa Denki (who created the Otamatone). He then moved to London to study Design Products at the Royal College of Art under the tutelage of Ron Arad. During this period, he also worked with Yamaha to produce musical experiences.

    Type that sound! The many typographic symphonies of music in five examples to embrace

    His work can be seen in several museum permanent collections around the world including the Museum Of Modern Art in New York and has had solo and group exhibitions at the Tate London, Mudam Luxembourg, MoMA and the Museum of Modern Art Tokyo. In 2016, he received the Designer of the Future award from Design Miami.

    To celebrate the Sound in Mind exhibition, on till the 20th of February 2020, Font Sunday aka Design Museum's twitter font inspired frenzy was devoted to music and logos. 

    DMX Krew

    Aphex Twin

    Bjork

    Talking Heads

    The Carpenters

    Chicago

    Def Leppard

    De La Soul

    The J.B.'s

    Nine Inch Nails

    Public Image Limited

    Prince

    RUN DMC

    Rammstein

    The Beatles

    The Who

    Van Hallen

    The Doors

    Iron Maiden

    Metallica

    Daft Punk

    Led Zeppelin

    Nirvana

    Explore more here

    09Dec
  • Paula Scher and her love of the poster explained

    A must-see exhibition of poster designs by celebrated graphic designer, Paula Scher, partner of Pentagram New York for Public Theatre is on through this Saturday, Dec 7, at the Manchester School of Art.

    The exhibition can be regarded as Design Manchester's thank-you note to Scher who was a keynote speaker, talking about her remarkable career as one of the world’s premier graphic designers, at the Design Manchester 2019 Conference on Friday 22 November.

    War, lust, type! How Paula Scher's typographic affair with The Public Theater redefined our culture

    “As long as I’ve been practicing design, I have been most obsessed with the connection between the work I create and its public. It began when I was a record cover designer in the 70s, working in an area of pop culture where audiences made a connection between graphic design and music. Later in my career, I was happiest working in the public realm where the work existed in the physical form: on the streets, in public spaces, on packaging, and later, through identity systems for cultural organizations, particularly theaters and art museums” says Scher.

    With Extinction Rebellion, Paula Scher & more Design Manchester is smarter (and angrier) than ever

    “I love the scale of the poster. I love big things outside. I love working on environments and environmental graphics. And I love when other people engage with them” she adds.

    Explore more here.

     

    02Dec
  • Graphic Intervention: 25 Years of International AIDS Awareness Posters

    “The rampant spread of the HIV/AIDS virus over the past 29 years has created the most significant global public health crisis in modern history. Despite the complexity and scale of the epidemic, there is still a lack of worldwide strategies to lead AIDS education. AIDS education in many countries is still shouldered, to a great extent, by government agencies and grassroots organizations led by community activists who are often motivated local citizens” note Elizabeth Resnick, professor and chair of graphic design at Massachusetts College of Art and Design, Boston and Javier Cortés, partner and creative director at KORN DESIGN aka the curators of Graphic Intervention: 25 Years of International AIDS Awareness Posters 1985–2010. 

    “Ever since the AIDS epidemic struck, the responsibility of educating the world's public has gained dramatically insignificance. In many countries, the poster as a medium of information was unknown before the emergence and identification of the HIV virus. With a disease involving sexuality and sexual behavior, and therefore social and moral issues deeply rooted in culture and tradition, messages to raise awareness and encourage preventative behavior have varied significantly to best serve the intended audience.”

    “The poster has played a special role in promoting AIDS awareness and safe sex education across cultures—different aims, messages, visual metaphors, and strategies have strongly influenced the content and design of AIDS posters. These messages can successfully reach specific targeted groups because the poster as a medium is cheap and easy to produce locally.”

    “Regardless of cultural differences, AIDS posters are meaningful to viewers because they frequently draw on images from popular culture and express the living habits of people, which can vary in approach and style. As such, the messages in these posters can illuminate how public health educators and activists see themselves and their audiences, and how they conceptualize disease and define 'normal' behavior within each given culture.”

    Silence = Death, ACT UP, USA, 1986. The simple graphic emblem, "Silence = Death," printed in white using the Gill Sans typeface underneath a pink triangle on a black ground, has come to signify AIDS activism. The original emblem was designed by six gay men calling themselves the "Silence = Death Project" in 1986 and later used by ACT UP (AIDS Coalition To Unleash Power) to produce T-shirts, buttons and stickers as a means of fundraising for the cause. Historically, the inverted pink triangle is a symbol of oppression. It was used as a marker of homosexual men in Nazi concentration camps much in the same manner that Jewish people were forced to wear the yellow Star of David as an identifier. Wearers of the inverted pink triangle were considered at the bottom of the camp social system and subjected to particularly harsh maltreatment and degradation. Thus, the appropriation of the symbol of the pink triangle usually turned upright rather than inverted by Pro-gay activists in the 1970s was a conscious attempt to transform a symbol of humiliation into one of solidarity and resistance. 

    United Nations Office on Drugs and Crime, Harry Pearce assisted by Jason Ching, Pentagram UK. The United Nations' Office on Drugs and Crime produced a series of posters to highlight the relative merits of drug treatment and rehabilitation around the world. The posters had to be eye-catching, easy to absorb and not reliant on language. The typographic solution creates a simple world map from internationally recognized country abbreviation codes (GB, US, RU etc). Variants were then designed, using color-coding and icons to provide comparative statistics about drug abuse, the incidence of HIV, Methadone and opioid maintenance therapies, and needle and syringe programs.

    True Love, Anon, State of California, AIDS Education Campaign, USA, 1994. This poster is one of the early iconic posters to feature a drawing or photograph of a condom as a substitution for the letter "o" in word message. Here it accentuates the word "love."

    Who's Afraid of the Big Bad Wolf?, Andrea Rauch, Rauch Design, Italy, 1991. Translation: "AIDS is not the big bad wolf. It is a serious illness, one that should be prevented with attention, and treated with every means available, but it is nothing more than an illness. Those who suffer from it should be helped in every way possible, not isolated and avoided like convicts. AIDS is fought also with caring and solidarity. Fear, solitude and isolation are the real big bad wolf."

    Graphic Intervention: 25 Years of International AIDS Awareness Posters 1985–2010 draws upon James Lapides' extensive archive of international AIDS Awareness posters along with posters generously donated to Massachusetts College of Art and Design. A cohesive selection of 153 posters presents an insightful overview of diverse visual strategies employed by many different countries working within their own distinctive cultural perspective in response to the subject of AIDS as a public health emergency.”

    A 96-page, full-color catalog is available for purchase through mail order. 

    Explore more here

    01Dec
  • Typenotes 3: after two years in the making the new issue is out with a bang

    Simultaneously dispelling the notion that typography is just for design geeks and catering for font fanatics, TypeNotes is a print magazine love letter to letterforms published by the type foundry Fontsmith in London.

    The first issue explored all things type-based from a passionate and knowledgeable standpoint with voices from around the creative industries worldwide such as Lance Wyman, APFEL, Craig Oldham, Hey Studio and Why Not Associates to name but a few.

    Now the magazine is back with a third issue, two years in the making. Drawing on Fontsmith’s in-house expertise as well as hearing from voices around the creative industries worldwide such as Design Army, Noise 13, Chris Pitney, The Company You Keep, Construct, Adam Higton and Triboro to name but a few.

    Available to order on presale, magazines will be shipped on the 5th December.

    Issue #3 features Erik Brandt’s artivist revolution, a treasure trove of typography at the BFI, the creative opportunities with variable fonts, behind the scenes at St Bride and fonts as art by creatives from Ed Ruscha to Tracey Emin, via Bob and Roberta Smith, and the Guerrilla Girls

    Get your own copy here
     


     

    29Nov
  • Make Goods: Make's pop-up store delivers a message

    Make Goods aka the streetwear and accessory label of the Hamburg design studio Make is launching its first pop-up store to spread the message of sustainable fashion.

    As noted by PAGE Make's founders Franz Xaver Daublebsky and Michael Ahl produce their clothing on fair trade organic fabrics and one euro of each purchase will be donated to the cause.

    Make Goods is a clothing and accessory line with a pro-equality agenda.

    The pop-up store is open from Thursday, 28th of November to Saturday, 30th of November in Hamburg. 

    Check more here.

    25Nov