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News, Events, and Beautiful things from around the globe

Peter Saville

Peter Saville is arguably the most famous record cover designer of them all. Although many of the covers below are the results of collaboration, everything he’s involved in evinces a rare degree of rigour, consistency and an ongoing desire to experiment. The New Order sleeves are particularly fascinating as a continuing narrative about the potential of design. He’s on record stating that record design is of no interest any more – we would beg to differ, but that may have been more of a personal statement.
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Design is attitude

Helmut Schmid

born 1942 in Austria as a German citizen. Studies in Switzerland at the Basel School of Design under Emil Ruder, Kurt Hauert and Robert Buchler.

Works in West Berlin and Stockholm (covers for Grafisk Revy). After Montreal (Ernst Roch Design) and Vancouver he works in Osaka for NIA (for Taiho Pharmaceutical and Sanyo). 1973–76 at ARE in Dusseldorf he designs publicity material for the German government and the chancellors Willy Brandt and Helmut Schmidt. 1976 election campaign symbol for the SPD. 1978 exhibition of his politypographien at the Print Gallery in Amsterdam. Independent designer in Osaka since 1981. Member of AGI (Alliance Graphique Internationale) since 1988.

His work includes visual identity programmes for IPSA Cosmetics, the flower boutique Masiyak, confectionery Ruban d’Or, German–Japanese dye-works HMK, and the German trades union IGBE. Product identities for Pocari Sweat, Fibe-Mini and Java Tea drinks for Otsuka; the Savon d’Or and HG series for Shiseido Fine Toiletry; and the logotypes Elixir, uv white and Evenese for Shiseido Cosmetics. An important design work is the bi-lingual packaging identity for medical products like Meptin, Mikelan, Acuatim for Otsuka Pharmaceutical.

His syllabary face Katakana Eru, created during the years 1967 to 1970 with the purpose of achieving a harmonious relationship with the Latin alphabet, is today a trademark of his work. He is editor and designer of typography today (Seibundo Shinkosha, Tokyo 1980) and of a special issue of the Swiss TM (1973) on Japanese typography. 1983 lecture in Xian, China (typography, seen and read). His book design work includes the japan typography annual 1985, Takeo Desk Diary, and Hats for Jizo (Robundo, Tokyo 1988) with illustrations by nine-year old Nicole. He celebrated the fall of the Berlin wall with the publication 1989 11 09, typographic reflections 1. In preparation is Japan japanese, the book containing his series of articles which appeared in the Swiss Typographische Monatsblatter (1968–79).

enjoy from is work……

1964-shakespeare hs-japan-ese helmut_schmid_003_1240 helmut elixir 2012-fukushima-tree 2009-idea-333 2006-grad-poster 2003-democracy-hipocrisy 1997-road-basel 1985-japan-typography 1978-idea-mag-02 1977-idea-spd 1974-dng-7 1966-grafisk-revy-5 1965-grafisk-revy



Can Dagarslani

Graduating in 2006 from Mimar Sinan University of Fine Art, Istanbul, Can Dagarslani aged 28, became increasingly more interested in photography while studying architecture. It all began in 2003 when Dagarslani started working on landscape shoots of different places that would bring out each city’s architectural plan. When Dagarslani discovered analography, his digital camera was putted aside for an analog camera that triggered his passion for photography.


Combining his architectural works with photography in addition to hidden interest for Jean-Luc Godard are the key aspects that defining his style. People can easily perceive desire of depicting human’s inner sensation by using expressive colors and natural light.



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Arne Jacobsen

Arne Jacobsen,  (born Feb. 11, 1902, Copenhagen—died March 24, 1971, Copenhagen), Danish architect and designer of many important buildings in an austere modern style; he is known internationally for his industrial design, particularly for his three-legged stacking chair (1952) and his “egg” chair (1959), the back and seat of which were formed of cloth-covered plastic.Jacobsen received his diploma in 1928 from the Copenhagen Academy of Arts. His first buildings date from 1930, but his first major work was the Bellavista Housing Estate (1933) at Klampenborg, near Copenhagen, where each house offers a view of the sea.Important Jacobsen works during the 1950s include a group of houses at Søholm (1950–55), the Jesperson Building (1955) in Copenhagen, Rødovre Town Hall (1954–56), and the SAS Building (1959), Copenhagen’s first skyscraper, for which he did the interior design as well as the architecture.

Like many of Jacobsen’s buildings, those designed for St. Catherine’s College, Oxford University (1964), recall his theory that “economy plus function equals style.” The starkly modern bell tower consists mainly of two tall planes. For St. Catherine’s he also designed furnishings such as silverware and china, chairs, lamps, and door handles.

43DesignLetters_isoPoster med rammeArne Jacobsen

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herbert bayer was cool

Herbert Bayer (April 5, 1900 – September 30, 1985) was an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer, and architect, who was widely recognized as the last living member of the Bauhaus and was instrumental in the development of the Atlantic Richfield Company’s corporate art collection until his death in 1985

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Piet Zwart was a Dutch designer born on May 28, 1885 in Zaandijk, North Holland. He had trained as an architect, and began graphic design projects at age thirty-six. His training as architect included designing furniture and interiors. Soon enough, he rejected rules of design being a traditional symmetrical layout and strict horizontals and verticals. Zwart began to make rough layouts by ordering words, rules, and symbols from a typesetter. Zwart had no formal training in typography or printing so he was uninhibited by rules and methods of traditional professional practices. Zwart realised that

the 20th century’s need for typography became an important and influential cultural force so he felt obliged to change it.

His commercial print work has influences from Constructivism, Dada and De Stijl, while still adding a playfulness to the mix. He experimented with upper and lower case, lines, circles and screens, and free letter composition. Zwart classified him as a typotect— part typographer, part architect. Zwart’s distinct style consisted of strong diagonals, primary colours, use of scale, varying typefaces, and careful asymmetry, rejecting the conventional symmetry around a fixed central axis. These elements were considered functional to him.
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The Architecture of Communication

The Visual Language of Hong Kong’s Neon Sign

Although neon signs are a foreign import, this Chinese signage tradition has been inherited and appropriated into the vocabulary of contemporary neon signs in Hong Kong, albeit on a much greater scale and in more amplified forms that reflect the city’s changing urban and architectural fabric.

Source: Neonsigns hk


Neon signs in Las Vegas, 1970s.



Typology of Hong Kong’s signscape: Side elevation



Typology of Hong Kong’s signscape: Front elevation



Shun Hing Restaurant (Sham Shui Po)
A simple projecting columnar sign rendered in Lishu calligraphy with a Chinese-style border.




Golden Dragon Mahjong Parlour (Wanchai)
A small yet extravagant projecting columnar sign for a mahjong parlour, crowned with the head of a dragon and with a pedestal in the shape of a cloud. The dragon is wrapped around the shaft.



Yuet Heung Restaurant (Wanchai)
Projecting banner sign for a restaurant on a side street, crowned with an image of a chicken, the restaurant’s specialty.



Tung Tak Pawn Shop (Wanchai)
A traditional pawn shop sign in the shape of a bat carrying a coin in its mouth.



Wah Hong Restaurant (Wanchai)
Projecting columnar sign for a restaurant. Legibility is sacrificed by the visual excess created by a complex background that does not provide enough contrast for the textual information.



A gouache rendering of a sign at a reduced scale for client approval.



An actual-size template of a Chinese character, drawn with markers on white craft paper.

New Project – Plasson

מיכאלאנג’לו באמבטיה

“ראיתי את המלאך בתוך השיש וגילפתי אותו לחופשי” – דווקא בציטוט הזה, של מיכאלאנג’לו, נזכרנו בפעם הראשונה שביקרנו במפעל של פלסאון בקיבוץ מעגן מיכאל.

פלסאון הינה חברה ישראלית שהוקמה על ידי קיבוץ מעגן מיכאל והיא מהחברות הבינלאומיות המובילות בתחום הפלסטיקה. לקבוצת פלסאון חברת בת בישראל המתמחה בין השאר ביבוא ושיווק מוצרים לעולם האמבט, בדגש על עיצוב וסדרות פרימיום של ברזים מאיטליה, כיורים ועוד…
כחלק משיטת ה “Business Creation” בדן אלכסנדר אנד קו, גיבשנו קונספט הנובע מהעולם האמנותי של הרנסאנס האיטלקי, ליצירת בידול, שפה וזהות ייחודית הממקמים את המותג ומוצריו בסביבת עבודה חדשה.

העבודה כללה גיבוש והגדרת תפיסה אסטרטגית, מיתוג ועיצוב לתדמית החברה, תוך הגדרת עולמות תוכן ופיתוח שפה ויזואלית השואבת את השראתה מדימויים איקוניים באמנות קלאסית איטלקית, ומפרשנות חדשה למרכיביו הצורניים של לוגו החברה.


Michelangelo in the Bathroom
“I saw the angel in the marble and carved until I set him free” – it was precisely this Michelangelo quote that came to mind the first time we visited the Plasson production plant in Kibbutz Ma’agan Michael.

An Israeli company, Plasson was founded by the members of Kibbutz Ma’agan Michael and today is known worldwide as a leading name in the international plastics industry. The Plasson Group owns an Israeli subsidiary that specializes in, among others, the import and marketing of bathroom products, with particular emphasis on aesthetic design, including premium lines of Italian-made faucets, sinks, and more.

At Dan Alexander & Co., we used our exclusive Business Creation methodology to create a distinctive brand concept inspired by the world of Italian Renaissance art. This concept created brand differentiation, as well as a unique brand language and identity that position the subsidiary company and its products in an entirely new business environment. This project included formulating and defining a strategic perspective, branding and designing the company image, defining and developing content worlds, and forming a visual language derived from the iconic imagery of classic Italian art, while also reinterpreting the formal elements of the company logo.


Michel-Ange dans son bain
« J’ai vu un ange dans le marbre et j’ai seulement ciselé pour l’en libérer. » C’est cette phrase de Michel-Ange qui nous est revenue en mémoire lors de notre première visite de l’usine de la société Plasson, dans le kibboutz Maagan Michael.Plasson est une société israélienne qui a été créée par le kibboutz Maagan Michael et elle fait partie des sociétés leaders au niveau international dans le domaine des matières plastiques. Le groupe Plasson possède en Israël une filiale spécialisée entre autres dans l’importation et la commercialisation de produits pour les salles de bains qui met l’accent sur la qualité du design et les marques haut de gamme pour les robinets en provenance d’Italie, les lavabos etc.Chez Dan Alexander & Co., lors du processus de création de marque (Business Creation), nous avons élaboré un concept qui découle de l’univers artistique de la Renaissance italienne afin de créer une différenciation, un langage et une identité singulière qui replacent la marque et ses produits dans un nouvel environnement de travail. Ce processus a consisté à créer et définir un concept stratégique, élaborer le branding et l’image de marque de la société, en redéfinissant son domaine et en développant un langage visuel inspiré des images emblématiques de l’art classique italien et également d’une nouvelle interprétation des éléments graphiques du logo de la société.

Mark Wagner: Money is Material

Makes us question the worth of taking something at face value.

Directed & Produced by Kelly Nyks & Jared P. Scott / Cinematography & Editing by Mike McSweeney / Music Composition by Malcolm Francis / Artwork by Mark Wagner / Process Video by Mark Wagner / Animation by Noah Poole & Nic Stark / Colorist: Josh Kanuck / Production Assistance by Greg Hartofelis / Additional Camera by Theron Powell

Visual Math

“Mathematics, rightly viewed, possesses not only truth, but supreme beauty — a beauty cold and austere, without the gorgeous trappings of painting or music.” —Bertrand Russell

By Yann Pineill & Nicolas Lefaucheux

From a church to a modern bookstore

Architects BK. Architecten were tasked with Transform this 15th century Dominican church into a modern bookstore with the addition of 700 square meters of shopping space. But there was one major catch: all the historical elements of the 547-year-old building including stained glass windows, pipe organ, ceiling paintings and expansive arches had to remain intact.

Incredibly, BK. Architecten managed to add three levels of retail space to the side wings of the church in a manner that the entire structure can one day be removed in order to restore the church to its original design. In addition only three colors of building materials were used to mimic the existing palette of the cathedral’s interior to further ensure that the bookstore would pay reverence to the original space.

Photos by Joop van Putten and Hans Westerink.

City / Country: Zwolle, The Netherlands

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“TOKYO FASHION WEEK in ITALY” selects brands and makers that already have their business in the fashion industry in Japan from among the public. It features a special exhibition at PITTI UOMO in Florence and at STUDIO ZETAshowroom in Milan to introduce Japanese creations.
PITTI UOMO is the largest men’s festival of pret-a-porter in the world that covers from casual to formal and has a major impact to the fashion industry.


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“Switcharoo”  features couples photographed in their outfits and then again after they swap clothing.

This Playful series invites discussion and reflection on gender norms. Some of the couples accentuate the switch by matching each other’s poses in the before-and-after shots.

Series by Canadian photographer Hana made.

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The Scarecrow

Watch “The Scarecrow,” the companion film for Chipotle’s new app-based game.
The song “Pure Imagination” performed by Grammy Award®–winning artist Fiona Apple.

Hong Kong’s human battery hens

Claustrophobic images show how slum families squeeze their lives into the tiniest apartments

They are barely bigger than a toilet cubicle.
Yet these depressingly cramped spaces serve as a kitchen, living room, dining room, bedroom, pantry and everything in between for their cooped-up inhabitants.
Those unfortunate enough to live in these urban slums range from the elderly and unemployed to low-income families and singletons.
Their location? Hong Kong. One of the richest cities in the world.

From the Daily Mail UK