“For to be free is not merely to cast off one’s chains, but to live in a way that respects and enhances the freedom of others” Miskaa Price (South Africa) (posters for Nelson Mandela’s 95th birthday via printmag and brain pickings)
“Early this year, I sat in the home of the father of a good friend of mine. I’ve heard before that this guy tried to escape the German Democratic Republic in the seventies, unfortunately without success. So I was curious and asked him about his attempt to break out. After he told me his moving story and gave me an insight in his Stasi (GDR secret service) file for the first time, he pulled out a little box. In the box were seven tiny papers with microscopic small handwriting. I measured it – the type size is 4 point!”
Big congrats to our own Elana Schlenker for being included in PRINT magazine’s 2013 New Visual Artists issue (April). For the last eleven years, PRINT has featured an annual issue called the New Visual Artists Review, which introduces and profiles 20 of the most promising rising talents in graphic design, advertising, illustration, digital media, photography, and animation—all under the age of 30. Some of Elana’s recent work at PAPress includes: Vintage Typography Notecards and Brooklyn Makers.
In our enthusiasm to post, we left out some details: the numbers you see on the cover was custom designed for us by Juan Carlos Pagan. We use the whole set on the inside, but the numbers themselves are constructed of 5 pieces each, allowing us to tease all 20 NVAers at one on the cover. Above are the two versions of the numbers created for us.
“In the same way that there is always a critical distance between the standard and its variation, a dialect can be seen as a way to challenge the cultural hegemony of the standard language (while simultaneously affirming it) … To quote Marx, “The demand to give up illusions about its condition is the demand to give up a condition which needs illusions.” This connects all modernist manifestations. From the most fragmentary surrealist collage to the most grid-based Constructivist composition, and everything in between: They all aim, each in their own way, to go beyond the chains of illusion. In that sense, we believe that every manifestation of modernism is inherently subversive. We believe that even in its most harsh and rigid form, modernism still offers a way out. Even in those rare cases when modernism puts on an unbearable authoritarian face, it still gives the viewer the possibility to completely disagree. It provides a person something to chew on, to work with, to bounce off of. It always demands an active position. Therefore, we even believe that the more corporate outgrowths of late modernism possess a subversive potential.”
-Experimental Jetset in Print Magazine, interviewed by Metahaven
Will Burtin, Insert “A Program in Print” of magazine Scope, 1955. Co-edited by Leo Lionni. Via printmag / Stephen Heller
By 1955 Burtin had been design consultant for seven years for the Upjohn Company (a pharmaceutical leader) and art editor of its monthly house organ, Scope, which set a high conceptual standard for such periodicals.
This should brighten up your Sunday! Spread from Murry McCain’s 1962 book, Books. via the awesome @typographher
Vibrant, chromatic type, theatre poster from 1902. Shared by @dynamoworks
Fat-tastic! I love the way this is shaping up. A WIP shot from @juanjezlopezin Madrid. 2 weights, 8 widths.
Oh, Wow! Indeed. Eye blasting chromatic type. “Mexican” style (seemingly an ultra Tuscan*) Shared by@davidwolske#letterpress print by@caubry4 designed by Wm. H. Page. *I totally made this phrase up. It’s not certainly not a ‘super Tuscan’; that would be an Italian wine (also outstanding :)
Sublime swashes on this Caslon italic capital, via @mattrieck
South Korean-born designer, Jeseok Yi was featured in the April 2011 issue of Print, as one of their 20 hand-picked New Visual Artists. Yi received his BFA from the School of Visual Arts in 2008 and is currently pursuing his MFA at Yale. Though this particular piece is a couple years old, it jumped out at me because of its simple brilliance (I wish I’d seen this before). It’s one line of copy reads “The more you smoke, the less you celebrate.” These matchboxes were designed by Yi for the American Lung Association. Many of his clients are non-profits, which makes the designer even more admirable. He told Print:
“I thought making poor people happy might have a much bigger impact than making happy people a bit happier.”