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  • Avant-garde for purity: the iconic works of Tsuguya Inoue conquer Tokyo

    Wish we were there! This month Ginza Graphic Gallery (ggg) hosts “Beginnings,” an exhibition of the works of Tsuguya Inoue. Born in 1947, the graphic designer who is always pushing the limits of visual language established his own company, Beans Co., Ltd., in 1978. Through the years he has forged a prominent career as a graphic designer and art director, the latter area encompassing the realms of advertising, music, publishing, and TV. Today, with innovative creations integrating photography and typography, his design work continues to span across multiple genres.

    Widely hailed for his sharp sensibilities and the unfettered freedom he displays in creating stunningly new designs integrating photography and typography, Inoue has "never strayed from his glowing path of avant-garde creativity."

    Nearly a decade since ggg hosted Inoue's very first solo show, the new exhibition follows Inoue's paths in the realms of both advertising and publishing. The Japanese designer has created a steadily growing body of works born from his insatiable curiosity and sense of artistic adventure, works that have continued to evolve toward "greater and greater purity."

    The core of Inoue's upcoming exhibition at ggg will be his various new poster series. Among them, “The Burning Heaven” employs photographs of the sun, moon, light, water, oil, plants and such to create fictitious universes. Posters in his “Happy Time” series are imbued with humor and playfulness against a backdrop filled with tension.

    All posters on display will be Inoue's most prominent works self-selected from among his numerous masterpieces. Also on show will be the vast body of his posters and book designs created in recent years, in ever-expanding variety, in collaboration with the fashion world. "Inoue's works evoke an overwhelming and truly breathtaking aura. From that aura, visitors will surely enjoy discovering all-new sensations: the new beginnings of Tsuguya Inoue's newest journey of creativity."

    Inoue's major awards received to date include the Tokyo ADC Grand Prize, Tokyo TDC Grand Prize, JAAC Yamana Prize and Mainichi Design Award. Coinciding with this exhibition, a collection of Tsuguya Inoue's works, titled The Burning Heaven, will be published by Little More Co., Ltd.

    More here.

    Images via Little More 

  • #Ascenders2019: Type Directors Club call for entries for designers 35 years and under

    The Type Directors Club is calling for entries to the Ascenders 2019, a portfolio-based competition to recognize outstanding type-oriented work of designers who are 35 years of age and under.

    The Ascenders 2019 competition encourages designers from around the world to submit portfolios showcasing their use of type before the June 15, 2019 competition deadline.

    Submissions should be in the form of a single PDF portfolio, featuring designs that rely on type, are dominated by type, show particular ingenuity in the use of type, or create type. Other elements, such as photography and illustration, can be present, but the judges will focus on type. Applicants should avoid including their name in the PDF portfolio submission. Members of the TDC Board of Directors will review all work that is submitted and will select ten aspiring and inspiring designers who are expanding the art of typography for the Ascender 2019 honor.

    Previous Ascenders include young designers from Argentina, Brazil, Canada, China, Croatia, Denmark, Mexico, Poland, Portugal, Singapore, Spain, and the United States. This year’s Ascenders will be announced on July 17, 2019 at the Type Directors Club annual awards ceremony at The Cooper Union in New York. Later in 2019, Type Directors Club will host an exhibition of the Ascenders 2019 work in New York and publish their work on the TDC website and in the next TDC annual, The World’s Best Typography.

    All the details, rules, and fees are listed here.


  • Brucker is a purposefully restless typeface unleashed

    June 10 sees the publication of the latest typeface from Jeremy Tankard Typography. Aptly named Brucker this "purposefully restless typeface" with a robust presence is designed to create an aggravated and expressive text image through the use of interrupted curves, a dynamic rhythm and disjointed baseline. Primarily created for display use it does, however, function surprisingly well at text sizes.

    Brucker takes its inspiration from the emotively charged art of the Expressionists. Their vision of the world is made from broken lines and uncompromising, energetic, feverish marks. Several of the posters produced to publicize their new art use crude, black letter shapes.

    These are directly cut and jammed together to make dense evocative blocks of text. Building on these immediate and expressive letters, those of Brucker have been "carefully drawn to avoid the cleansing mechanical line of the computer."

    Read more on the story behind the inspiration and development of the typeface here.

  • So how difficult is Chinese typography? Very!

    Interesting and insightful, Typegeist's latest entry in its series of talks is all about Chinese type design and the multiple challenges it demands from the creatives in the country.

    In the interview, Synoptic Office’s Caspar Lam and YuJune Park invited leading type designers from mainland China, Taiwan, and Hong Kong to discuss the present and future of Chinese type design. Joe Chang, Julius Hui, and Li Zhiqian answer every bit of question on the massive work that a standard Chinese text font demands (it contains a minimum of seven thousand glyphs) and the new technologies that are about to change the way type designers work on Chinese characters. 

    "How would you define Chinese typography?" asks Synoptic Office. "Difficult" answers Julius Hui. "There is nothing called Chinese typography right now because we don’t have textbooks on it or even a definition of Chinese typography. Many people think they are doing Chinese typography. However, I would say they are just playing with type or making typographic design. Hopefully, type education will improve."

    Variable fonts and advanced software are sure to change the way Chinese typography will evolve, especially online. Read more insights on China's typographic evolution here


  • Kerning 2019: Louise Fili, Sarah Hyndman and more in Italy's first international typographic conference

    Kerning, the first international conference in Italy dedicated solely to typography and web typography is coming to Milan for three days filled with fonts.

    Kerning, a non-profit event, features two days of workshops and a Conference day full of talks. Kerning offers a very interesting chance to meet developers, gurus, managers, and innovators from all over the world. The conference's task is to help grow a community of prepared developers keeping knowledge affordable and this year's line up of speakers is stellar to say the list.

    From Sarah Hyndman, the British graphic designer, writer, founder of the innovative Type Tasting studio and public speaker who is asking all the right questions on multi-sensory typography always searching for answers on the psychology of type through Louise Fili, director of Louise Fili Ltd, a New York-based design studio specializing in branding as well as type design, a woman who has consistently been influenced by Italian typography over her forty year spectacular career which kicked off when a 16 years old Fili fell in love with a poster for Perugina to Monica Dengo, graphic designer, calligrapher and teacher who will pay her tribute to the art of handwriting -"an art of direct experience" she notes- Kerning is calling all type lovers in Faenza, in the very heart of Italy, for a top-notch, unique event.

    More here.