Month: October, 2010

Ross Evertson

Ross Evertson is an artist and designer from Toronto. One of his projects, Connection, reminds me of Richard Renaldi’s Touching Strangers that I posted a couple months ago. While Renaldi’s questions how we understand our physical relationship to another stranger, Evertson’s focuses on the romantic belief that there’s an intrinsic bond between the artist + subject. In each image, he holds the hand of the individual while he takes their photo, “literalizing the fabled connection.” I love that Evertson’s physical involvement is not always clear in the photo.

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Robert Festino

Bon Appétit magazine spreads from art director/designer Robert Festino—amazing styling, photography, and design.

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via design work life

Felt & Wire

Felt & Wire Shop is a curated marketplace of designer papergoods. Whether you’re looking for a unique gift or elegant note cards, you’ll find everything from beautifully crafted letterpress cards and thank you notes to engraved social stationery. There’s also unique holiday gift wrap, handmade journals, and sketch books. Felt & Wire Shop is also a great source for limited edition posters, prints and artists books that you won’t find anywhere else.

The Felt & Wire collective is made up of designers, printers, bookbinders, and artists.

There is truly some gorgeous stuff here. Way more than I could pick to post—so go take a look.

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Lunalux; Minneapolis, MN

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IN HAUS Press; San Francisco, CA

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Praxium Press; Atlanta, GA

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Chewing the Cud; San Francisco, CA

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One Fine Dae; Seattle, WA

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Star Shaped Press; Chicago, IL

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Constellation & Co.; Seattle, WA

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AdamsMorioka; Beverly Hills, CA and New York, NY

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Paper Jam Press; Brooklyn, NY

Neil Kellerhouse

LA designer + photographer Neil Kellerhouse was brought to my attention by this (very) recent post from GraphicHug and I can’t help but post it again here, because holy molez. Be-a-utiful. As they mentioned over there, it’s likely that you’ve seen at least one thing from him as he’s gotten a lot of high-profile work. I was at a book reading the other day (for Sara Marcus’ new book Girls to the Front—looks/sounds great, ps) and while standing in line at her table saw the book cover for The Informant.

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My reaction was, “oh thank goodness! I hate when the movie comes out, and they replace the book cover with the silly movie poster that has the giant photo of the actor/actress. This is nice. You can hardly even tell it’s Matt Damon.” Well. That was the movie poster they used—the movie poster that Kellerhouse did—and still. It’s great. (that image above is [perhaps obviously] not the book cover I saw, but the movie poster from Kellerhouse’s portfolio) Here’s some more of his work… but really. Go look at all of it.

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Sharon Montrose

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Sharon Montrose runs The Animal Print Shop online featuring some gorgeous photos. And to keep the talent flowing, her website was designed and programmed by the three-person design studio Also, and her logo was hand-lettered by Leigh Wells.

Here’s a sampling of her photos:

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The Designer as Producer

I was just rereading Ellen Lupton’s short article, “The Designer as Producer,” last night. It was first published in Steven Heller’s 1998 book, The Education of a Graphic Designer, and while the designer-as-author discussion was pretty hot in the 90s, I find it to still be more than relevant a decade later. (Gosh, was 1998 really that long ago?) In this piece, Lupton takes a cue from Walter Benjamin’s 1934 writing “The Author as Producer” and expands it to what that might mean for designers and design educators. Here’s a little passage:

When Benjamin called for authors to become producers, he did not mean for them to become factory workers alienated from the form and purpose of the manufactured thing. The challenge for educators today is to help designers become the masters, not the slaves, of technology. There exist opportunities to seize control–intellectually and economically–of the means of production, and to share that control with the reading public, empowering them to become producers as well as consumers of meaning. As Benjamin phrased it in 1934, the goal is to turn “readers or spectators into collaborators” (233). His words resonate in current educational models, which encourage students to view the reader as a participant in the construction of meaning.

How can schools help students along such a path at this critical juncture in our history?

*Language is a raw material.* Enhance students’ verbal literacy, giving them the confidence to work with and as editors, without forcing them to become writers.

*Theory is a practice.* Foster literacy by integrating the humanities into the studio. Infuse the act of making with the act of thinking.

*Writing is a tool.* Casual writing experiences encourage students to use writing as a device for “prototyping,” to be employed alongside sketching, diagramming, and other forms of conceptualization.

*Technology is physical.* Whether the product of our work is printed on paper or emitted from a screen, designers deal with the human, material response to information.

*The medium is on the menu.* Familiarize students with the many ways that information and ideas are disseminated in contemporary life. Give them the tools to find their rightful place in the food chain.

Doug Wilson & Linotype

Linotype: The Film is a documentary about Ottmar Mergenthaler’s amazing Linotype typesetting machine and the people who own and love these machines today.

From Doug Wilson (who you should check out because he has oodles of great stuff besides this).