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  • Steven Heller on a graphic design master, Adolf Hoffmeister

    "Meet Adolf Hoffmeister (1902–1973), a cartoonist, painter, graphic designer, poet, novelist and former editor of the Czech daily newspaper Lidové noviny and the literary paper Literární noviny" writes Steven Heller on one of Europe's masters of graphic design

    "Hoffmeister founded an anti-fascist magazine, Simplicus, in the 1930s after the German satiric magazine Simplicissimus was banned by the Nazis. If that was not enough, he wrote the libretto for a children’s opera, Brundibar (later done by Maurice Sendak), with music by the Czech composer Hans Krása; the opera was performed by children in the Terezín concentration camp where Krása was imprisoned by the Nazis".

    Read his tribute here


  • A graphic design charity calls for action against cancer

    Design journalist and author Max Fraser has invited more than 150 established and emerging designers to create a one-off artwork that expresses the 'Joy of Living', using just three pieces of differently coloured A4 paper,in support of Maggie’s Centres that provide free practical and emotional support for people living with cancer. These exhibits will be available to view at One Poultry in the City of London between Tuesday 5 September and Sunday 10 September.

    Maggie's aims to be there for anyone living with cancer. As Maggie herself said: “Above all what matters is not to lose the joy of living in the fear of dying”.

    Artworks have been generously donated by a range of creative talent, including designers Jasper Morrison, Fredrikson Stallard, Barber & Osgerby, Tom Dixon, Ross Lovegrove, Eley Kishimoto and Ilse Crawford; architects Amanda Levete, Ivan Harbour and Steven Holl; architectural designer John Pawson; jewellery designers Hannah Martin and Jade Jagger; and artists Richard Woods and Rolf Sachs. Each piece will be signed but displayed anonymously.

    All proceeds from this project will go towards supporting the Centre's network, so more people with cancer can find the support they need.

    All artworks will be available to bid for online, and on location at One Poultry, from 5 – 10 September 2017. For more information, visit the Maggie’s website.



  • Tokyo pays tribute to the impressive visual visions of Philippe Apeloig

    Philippe Apeloig’s new show at Tokyo’s Ginza Graphic Gallery is an ode to the renowned Parisian designer.
    Apeloig, whose work is performed at numerous cultural facilities such as Musée d’Orsay and the Louvre, is continuously expanding the global scope of his artistic activities as one of France’s leading contemporary graphic designers.

    Apeloig says he was greatly inspired by Modernism, and he is an ardent admirer of painting, the performing arts, and literature. His works are characterized by their bold and rhythmical typography.
    Out of the surface of his posters – a two-dimensional form – the typography dances in three dimensions, creating a story that grabs the viewer’s attention with its highly charged emotion.
    His type designs and logos of recent years, expressed through robust use of animation, are infused with extremely natural movement. Light as could be, they jump about as if they were dancing.

    Philippe Apeloig's new show at ggg comes on the heels of two major shows he has held in Europe in recent years. In 2013 Apeloig mounted a grand retrospective exhibition, titled “Typorama,” at the Museum of Decorative Arts in Paris; and in 2015 he held “Using Type,” a solo exhibition focused on his typographic posters, at the Stedelijk Museum in Amsterdam.

    His upcoming show at ggg will showcase Apeloig’s ambitious works of recent and new vintage. His package designs for Issey Miyake Parfums – for the 2017 summer fragrances line (L’Eau d’Issey and L’Eau d’Issey Pour Homme) and holiday coffret – demonstrate Apeloig’s approach from the theme of “Typography & Landscape.” The L’Eau d’Issey font was designed specially for that project based on the product’s iconic bottle silhouette. In the process, Apeloig’s unique typography has created an all-new world for L’Eau d’Issey.

    The show will introduce Apeloig’s latest works, including an unprecedented foray into designing Sèvres porcelain and Hermès' Roland Barthes scarf, as well as numerous dynamic posters, and pop fonts and logos that, in spite of appearances, are designed meticulously. The show will give all visitors an opportunity to gain a deep appreciation of the supreme artistry and widespread appeal of the diverse his works. 

    The exhibition is accompanied by a catalogue edited by art critic Steven Heller.

    Philippe Apeloig was born in Paris in 1962 and studied at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs (ENSAD). After two transformative internships at Total Design in Amsterdam, he was hired as a graphic designer at the Musée d’Orsay in Paris in 1985.

    In 1987, after receiving a scholarship from the French Foreign Ministry, Apeloig left the Orsay and moved to Los Angeles to study and work with April Greiman. On his return to Paris, he established his own studio. In 1993, he won a fellowship at the French Academy in Rome, where he researched and designed typefaces. In 1997, Apeloig became a design consultant for the Louvre, then six years later, its art director, a post he held until 2008.

    From 1992 to 1998, Apeloig taught typography at ENSAD. While teaching part-time at the Rhode Island School of Design in the U.S., he applied for and was appointed full-time professor of graphic design at the Cooper Union School of Art in New York. He began his new post in 1999, then was made curator of the School’s Herb Lubalin Study Center of Design and Typography in 2000. He held the dual post until 2003, when he returned to Paris to run his own studio.

    Apeloig’s design compositions have won numerous prizes, including 1995 Tokyo Type Directors Club Gold Prize, Hong Kong International Poster Triennial 2007 Gold Prize, and the Overall Prize at the 2009 International Society of Typographic Designers Award in London. He contributed to recent blockbuster exhibitions by designing posters for “Yves Saint Laurent” in Paris (2010). Apeloig has also created numerous visual identities and logos for nonprofits, governmental agencies, and businesses ranging from Festival de l'histoire de l'art in Fontainebleau, the Orient Express, the Théâtre du Châtelet, the Direction des Musées de France, and the silversmith Puiforcat.

    Apeloig is currently working with Jean Nouvel on the way finding system for the Louvre in Abu Dhabi. He has also created the logo and the corporate visual identity of the forthcoming Yves Saint Laurent Museum in Marrakech.

    In 2013, the Museum of Decorative Arts in Paris presented his first major retrospective. At this occasion the Museum and Thames & Hudson published Typorama which brings together 30 years of his graphic work. In 2015, the Stedelijk Museum of Amsterdam held the exhibition “Using Type” which focused on Apeloig’s typographic posters.

    Philippe Apeloig is a longstanding member of the Alliance Graphique Internationale and was made a Chevalier de l’Ordre des Arts et des Lettres in 2011.

    “Apeloiggg” is on view until 16 September. For more information, visit the Ginza Graphic Gallery website here.

  • Displaay type foundry introduces a not so Reckless font family

    Type foundry Displaay started as a final MA project of Martin Vácha back in 2014. Vácha has focused on font sketching continually since 2008 - his love for graphic typography began during his first year of studies for the project Terrain magazine for which he modified Helvetica Textbook. Like all designers he was excited about the idea to create unique fonts for specific projects, so he has continued with this obsession until now.

    Reckless is his latest project. The serif text font family with renaissance (old-style) look and a really raised x-height was designed during his internship at London University of Arts, “where I could study sources of serif renaissance fonts at UAL Saint Martins Library and Monotype Library. I also tried to add some strict and cold alternates (see alternative "a, g, r, t, y"). That was during the same time I fell in love in Paul Renner's first sketch of Futura (see Hellix font)” he says.

    “Reckless is mainly inspirated by Plantin, Plantin Infant (about 1700 Robert Granjon, 1913 Frank Hinman Pierpont), all versions of Times, Times New Roman (1904 William Starling Burgess, 1931–1974 Stanley Morison, Victor Lardent) and all versions of Caslon (1722 William Calson)”.

    Discover more here

  • The Visual history of type in 672 pages is not to be missed

    Graphic designer, Paul McNeil, has vast experience in corporate and brand communications. Therefore the co-founder of MuirMcNeil is the ideal man to guide us though the Visual History of Type.

    The comprehensive, detailed survey of the major typefaces produced since the advent of printing with movable type, in the mid-fifteenth century to the present day is arranged chronologically to provide context for more than 320 typefaces which are displayed in the form of their original type specimens or earliest printing.

    Each entry is supported by a brief history and description of key characteristics of the typeface. This book will be the definitive publication in its field, appealing to graphic designers, educators, historians and design students. It will also be a significant resource for professional type designers and students of type.

    Grab your own copy of The Visual History of Type by Paul McNeil - published by Laurence King - here.