Issue No. 021
Studio Clash is an interesting prospect—based in Switzerland, it’s a studio that was set up for a month and only a month, “in which 12 selected immigrants or asylum seeking creatives from all over the world work together under the slogan ‘United in Strangeness’”. The main objective of Studio Clash is to “raise public awareness, create a network and establish a permanent representation for creative immigrants, refugees and supporters in the city.” Dope. Their “chari-tee” campaign is over but you can still check it out here.
Vasilis Marmatakis is the designer behind some of my favorite movie posters of the past few years, so it’s no surprise to me that he crushed it again with his bizarrely beautiful, profoundly crazy typographic poster for “The Favourite”. The best part is how well he captured the mood of the film with nothing more than typography. Must watch film to get full effect.
The first job my dad ever had in the states after immigrating to Los Angeles in the early 80’s was as a sign painter and printer, so hand-painted signs and bad “outsider” design holds a special place in my heart. And in LA there’s no short supply of hand-painted typographic signs that break all the design rules. “Printed at Pico” is a collection of some of the printers in the diverse neighborhoods of LA and the things they’ve printed. Check out the books companion site to take a quick survey through some of these neighborhoods.
“Quality Time” is a dreamlike journey through Benjamin Kontoullas’ neon life as the last neon bending apprentice in Perth, Australia. Directed by Matt Sav. #neonislyfe
What is this salty discharge coming out of my eyes? If you’ve got 24 minutes and 31 seconds to spare, check out this touching story about finding your way home. <3
Scientists in Canada have detected a repeating radio signal known as fast radio burst, or FRBs, that they believe are emanating from a galaxy 1.5 billion light-years away. Is it time to welcome our new alien overlords? 🖖🏼
“...it probably wasn’t the sound of Blue Note that immediately caught your attention—it was the their album covers. Their bold use of color, intimate photography, and meticulously placed typography came to define the look of jazz during the 1950’s and 60’s.”