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  • Remembering Lucky Peach, the foodies most beloved magazine ever

    Lucky Peach, the six-year-old indie food media outfit from writer Peter Meehan and restaurant mogul and Momofuku founder Dave Chang is sadly a thing of the past.

    First envisioned as an iPad app, a “deconstructed, non-linear television show,” from Chang, Meehan, and the producers Zero Point Zero with a companion quarterly print journal published by McSweeney’s Lucky Peach released it’s first issue on June 22, 2011 –the magazine is still selling for over $100 on eBay and $85 on Amazon reports Eater.

    “Consisting of longform articles, essays, interviews, recipes, and illustrations, each issue tackled a new theme, from ramen (issue one) to breakfast (issue 17), gender (issue eight), the seashore (issue 12), and Los Angeles (issue 21). The publication which became known for its bold graphic design and creative take on food the Lucky Peach team split from McSweeney’s in 2013, launched a website in 2015, and branched out into a line of cookbooks, including the uber-popular 101 Easy Asian Recipes and, most recently, a vegetable book, a sausage book, and the upcoming egg book.

    The magazine won nine James Beard awards –including Publication of the Year in 2016- and a National Magazine Award for General Excellence.

    Peter Meehan confirmed Lucky Peach’s imminent shutter in a blog post last March. “I think it’s important for you to know that Lucky Peach loves you and REALLY values the time you’ve spent together” wrote Meehan. “Once it gets over its own internal grieving process, maybe it’ll even be able to manage an adult press release” he added.

    “The finale for Lucky Peach comes in the form of a double-issue: a 210-page celebration of Lucky Peach’s six year run featuring a selection of its best interviews, guides and recipes” reports It’s Nice That. As well as featuring Lucky Peach’s best articles, recipes and art from the last 24 issues, the final instalment does include a few new things which are ready to be served. A proper tribute to one of the industry’s most beloved publication that we wish we could feast on forever.  

  • SNL's ode to the overused #Papyrus font goes viral overnight

    This week Saturday Night Live entered the typographic realm with one of it's best sketches in ages. Host to SNL's season 43 premiere is a man haunted by Avatar's font of choice, the overused computer default font Papyrus. Psychotic Gosling is mad at James Cameron’s Papyrus font to his 2009 blockbuster Avatar movie - many graphic designers are still furious over the kind of random choice for one of Hollywood's most best-selling brands.

    "As far as fonts go, Papyrus isn’t quite as laughable as the beloved joke that is Comic Sans, but it’s pretty close. In this short but hilarious skit, Gosling’s character can’t stop obsessing over the laziness of Cameron’s decision to slap a slightly modified version of Papyrus onto a movie that cost $237 million to produce. After a failed attempt to explain the issue to his therapist, played by a baffled Kate McKinnon, we see him driving around and brooding, not unlike his character in Drive" reports VOX. James Cameron himself is just another reason to watch this hilarious typography infused skit.

    #Papyrus #SNLPremiere were the hashtags which quickly earned acclaim on Twitter.

    Speaking to CNBC, the font's creator Chris Costello, shared his enjoyment over SNL's acclaimed sketch. "I woke up this morning Sunday and my email was full. I had a lot of people telling me, 'Did you see this 'Saturday Night Live' thing?' I took a look at it and me and my wife were like cracking up, I mean we couldn't stop laughing. It was one of the best things I've seen". 

    "I designed the font when I was 23 years old. I was right out of college. I was kind of just struggling with some different life issues, I was studying the Bible, looking for God and this font came to mind, this idea of, thinking about the biblical times and Egypt and the Middle East. I just started scribbling this alphabet while I was at work and it kind of looked pretty cool. "I had no idea it would be on every computer in the world and used for probably every conceivable design idea. This is a big surprise to me as well" he added. CBS News correspondent Elaine Quijano asked Costello why he thinks Papyrus became one of the most hated fonts by graphic designers.

    "I really think -- and again if I can take this time to apologize to my brother and sister graphic designers. I'm a graphic designer as well, I'm an illustrator ... I believe it's a well-designed font, it's well-thought out" he replied on the story of the font which he sold for a mere $750 and "very low royalty payments".  "It was sold to Microsoft, it was sold to Apple ... it came packaged with Mac OS. It ended up being a default font set on every computer since 2000. Since that point, it's been on every computer in the world ... anybody who has a Mac or Microsoft operating system. With that broad range, that broad appeal, anybody could use it, not just graphic designers," he said. "So that's when I began to see it turn up everywhere: mortgage ads, construction logos. It was kind of out of control. It was not my intent to be used for everything -- it's way overused" reports CBS News. 

    Papyrus - SNL

  • Zak Group makes history for the Chicago Architecture Biennial

    The second edition of the Chicago Architecture Biennial (CAB) is the largest architecture and design exhibition in North America, showcasing the transformative global impact of creativity and innovation in these fields. To celebrate the event Zak Group provided the art direction for this second edition of the biennial titled “Make New History”.

    “In addition to designing the catalogue, we designed the visual identity, campaign, signage and wayfinding system” says Zak Group who collaborated with with artistic directors Sharon Johnston and Mark Lee.

    “The design of the jacket draws upon the visual language of contrasting colors and repetition that we developed for the biennial’s identity. The color pallet references Faber Birren’s industrial color code for DuPont while the typographic treatment draws upon the transformation of language into images by Chicago émigrés designers. Make New History, published by Lars Müller Publishers, is organised around four historical themes, signified by coral pink spreads, and two collective projects, denoted by cobalt blue spreads with contrasting typography” notes the studio on the accompanied publication which brings together an eminent collection of writers including Sarah Herda, Robert Somol, Philip Ursprung, Sarah Whiting and the biennial’s contributing architects and artists.

    This year’s Biennial features over 141 practitioners from more than 20 countries addressing the 2017 theme “Make New History.” Artistic Directors Sharon Johnston and Mark Lee have selected architects and artists whose eye-opening creations will invite the public to explore how the latest architecture can and will make new history in places around the world.

    The main exhibition is free and open to the public from September 16, 2017 through January 7, 2018 and it extends to off-site locations and is amplified through six community anchor exhibitions in the neighborhoods and two special project sites – plus installations, performances, talks, films, and more hosted by over 100 local and global cultural partners.

    The Chicago Architecture Biennial is a non-profit organization dedicated to creating an international forum on architecture and urbanism through the production of exhibitions and public programs.

  • Cheers to modern Japanese design for a modern Japanese beer

    Thirst Craft, the specialist drinks packaging design agency that builds “creatively rare, commercially right, brands that excite and delight the senses” is having a Japanese moment.

    Thirst Craft’s talented team of designers and strategists have joined forces once again with Yeastie Boys for a very contemporary and sleek take on their latest creation, Inari Bīru.

    “In case you’re not fluent, that’s Japanese for ‘Rice Beer’” comments Thirst Craft. 

    Made using high grade Koshihikari rice, this extra pale golden ale was designed to compliment Japanese food and needed a strong design to match this strong proposition.

    Inspired by minimalist Japanese design and a classic red, white and black colour palette, Thirst Craft created a strikingly simple pack.

    To add balance and energy, paintbrushes were picked up in a hasty homage to shodō, traditional Japanese calligraphy. A lot of experimenting with very viscous ink led to loose, textured characters disrupting the pristine lay out with their vertical placement.

    Cheers to a different taste here

  • OMSETYPE’s first sans-serif type family is infused with modernity

    “Modern Era is a sans-serif type family consisting of 12 styles ranging from Light to Heavy with corresponding italics” writes OMSETYPE on it’s latest monospaced type family consisting of 4 styles.

    To promote their typographic vision James Kape and Briton Smith from London-based design studio OMSE have recently launched their own type foundry aptly named OMSETYPE. Modern Era with its large x-height, low stroke contrast, pronounced arcs, beveled stroke joints and its contrast of wider circular characters with narrower characters is OMSETYPE’s first family.

    “These features give what was initially conceived as a functional typeface an idiosyncratic, friendly character making it equally suited for body copy and display type” writes the type foundry that was born from OMSE’s need to create typefaces which will play an important role in brand identity.

    “The character set includes over 520 glyphs providing support for over 60 languages. The release also incorporates enhanced OpenType typographic and layout features including a number of stylistic alternatives”.

    The two companies work in tandem with each retail typeface fulfilling a need identified in an OMSE project. Each typeface is then developed and tested extensively in OMSE projects before their retail release under OMSETYPE.
    OMSE originally comes from the Swedish word ömsesidig, meaning mutual or like-minded. “We’ve simplified our brand name however the umlaut (ö) lives on as our brand character” they add.

    Explore more here.