Graphic Digits

New typographic approach to numerals

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Numerals is a brilliant graphic element in its own right. From handwriting to analogue displays and digital type, these geometric symbols have evolved as starkly as types did, marking names, time, sum and coding messages with simply 10 digits, from 0 to 9. As the first-ever focused review of modern digit design, Graphic Digits profiles more than a hundred inspirational approaches that give numbers a magnified position in dally communications. From handicrafts to vector configurations, this title examines the artistic possibilities of customising rational and random numeral combinations in graphic identities, packaging, celebrations and marketing campaigns.

http://victionary.com/product/graphic-digits/

The Rodina.

The Rodina (*2010), a society of intimacy, love and trust where individuals may escape the competition of dehumanizing forces in post-postmodern society! The Rodina is self educational process taking form of Visual communication studio, based in The Hague (NL). The project was set up in Czech republic by Tereza and Vit Ruller as a reaction to their previous architectural, psychological and artistic practice. Currently interested in social and educational relations of design. Trying to define meaningful connections between culture, technology and aesthetic.

IDPURE

Such a good resource for any one passionate about graphic design, swiss legacy and education. 

This blog is a meeting place dedicated to the universe of graphic design, design and visual creation. It is addressed to professionals working in these areas and people who are sensitive to and interested in their visual environment. 

http://www.idpure.ch/blog/idblog.asp

The history of form

A lot of things happened in Germany, Europe and the world within the past 60 years - in society, politics, economy and technology and therefore in design, too. form magazine is a contemporary witness of these changes, while being an influencer at the same time. The change is made visible in in the more than 250 issues of the design magazine. What started off as an idea of four creative people in 1957, is today a forum with many loyal subscribers, which offers orientation, sets key topics and stimulates the design discourse.


1957

Founded as “International Revue” by Jupp Ernst, Willem Sandberg, Curt Schweicher and Wilhelm Wagenfeld. Form magazine starts as a wide-ranging culture magazine not only dealing with art, architecture, and industrial design but also with ballet, music, poetry, and designer manifestos. 

1962

Karlheinz Krug becomes the new editor. In his function as editor in chief (until 1998) and co-publisher (until 2001) the industrial designer has a defining impact on the magazines development and appearance. 

1966

The introduction of the new subtitle “Zeitschrift für Gestaltung” (“design magazine”) manifests a refocusing of the magazine initiated by Karlheinz Krug. Furthermore, an international advisory board is introduced. Among others, members are Walter Gropius, Marcel Breuer, Sigfried Giedion, Johannes Itten, Richard Buckminster Fuller, and Max Bill. 

1974

Bertelsmann Publishing acquires Westdeutscher Verlag (Western German Publishing). The editor in chief Karlheinz Krug, form graphic designer Hanswerner Klein and bookseller and publisher Hans Otto Döring unhinge the magazine from the sales package. They found form publishing and continue publishing the magazine on their own. 

1994

Co-publisher Alex Buck and Manager Matthias Vogt resume the management of form publishing. In Frankfurt, journalist Fabian Wurm and graphic designer Andres Liedtke have a defining influence on the magazine until 1998. In cooperation with the “Büro für Gestaltung (“Design Office”) Offenbach, the relaunch of the magazine takes place during that time as well. form publishing starts to release designer monographs and publication series like “Designer Profiles”, “Design Classics”, “form theory”, and “form discourse”. 

1997

Mathias Wollin designs the all-new form website that goes online for the first time. Internationally renowned designers like Stefan Sagmeister, Jonathan Barnbrook, Peter Saville, Gunter Rambow, or Mike Meiré design the cover of form magazine. 

1999

After more than 25 years, Karlheinz Krug withdraws from his duties within the editorial department but continues his work as co-publisher until 2001. To follow in his footsteps as the new editor in chief is Petra Schmidt. form magazine introduces the new subtitle “The European Design Magazine” and from now on is published bilingually in German and English. 

2002

Belonging to Springer Science and Business Media, Birkhäuser Publishing takes over form magazine. In consequence, the editorial department relocates their headquarters to Neu-Isenburg Gravenbruch. 

2005

The magazine focuses on the different stages of the design process. The new subtitle “Making of Design” puts emphasis on this new orientation. In addition to the new content concept, the agency ade hauser lacour from Frankfurt fundamentally overhauls the layout of the magazine and the website. 

2006

Gerrit Terstiege, a member of the form staff since 1997, becomes the new editor in chief. 

2007

form celebrates its 50-year anniversary and relocates its office to the Birkhäuser publishing headquarters in Basel, Switzerland. The archive of issues René Spitz constructed for his postdoctoral lecture qualification goes online. It contains more than 20000 pages. 

2010

The Spanish publishing house Actar acquires the sections architecture and design of the Birkhäuser Publishing. form magazine is part of this acquisition. 

2011

The longtime editor in chief and publisher Karlheinz Krug passes away at the age of 77. 

2012

Birkhäuser Publishing declares bankruptcy. In consequence, Walter de Gruyter GmbH & Co. KG Berlin acquires the book publishing rights, Peter Wesner acquires the rights of form publishing and form magazine. Stephan Ott becomes the new editor in chief. Form magazine is published by form publishing GmbH & Co. KG, Frankfurt. 

2013

Designers Heimann and Schwantes from Berlin realize the relaunch of form. The magazine is visually and content wise adapted to the demands and changes of the contemporary design discourse. At the same time the all new website goes online.

Unit Editions Identity

Unit Editions is a collaboration between Tony Brook (Spin) and author Adrian Shaughnessy, and brings the notion of the book as a highly-designed artifact with rich visual and textual content to an international audience of design professionals, design students and followers of visual culture. Each book combines impeccable design and production standards with insightful texts and informative commentaries on a wide range of subjects.

Words: Spin from there stunning, newly refurbished website -

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More: http://spin.co.uk/work/un

It was the winter of 1985, when photographer Brian Rose decided to explore New York’s Meatpacking District with his 4×5 view camera. Early in the morning before dawn, it was a scene of carnage as men grappled with meat carcasses hanging from hooks under metal awnings along the streets. At night, a different sort of meat market took place as prostitutes prowled the same streets, and leather clad men sought the anonymous doors of sex clubs.

But during the daytime when Rose wandered the streets, the area was utterly abandoned – a stage set New York – as if the actors had all gone on break. The desolation is astonishing in light of what has happened in the years since to the Meatpacking District and New York in general.

Rose never printed his Meatpacking images. He went on to other projects, other parts of the world. In 2012 he pulled out the box of negatives and began scanning. The recovered images, made with little artifice, were stunning to see. At the urging of many, he decided to re-photograph the Meatpacking District, repeating many of the 1985 views–like the Washington and Bank Street in the boxheader above–and making a number of new ones.

The result is Metamorphosis: Meatpacking District 1985 + 2013 (Golden Section Publishers, $60), a vivid look at the old world and the new, 1985 versus 2013 and a book that tells the story of almost unprecedented urban transformation, from wasteland to epicenter of art and fashion.

- See more at: http://www.getaddictedto.com/metamorphosis-meatpacking-district-1985-2013/#sthash.k6Gmx4HI.dpuf

Found on http://www.getaddictedto.com/

DELFINA FOUNDATION
Our mission and guiding objectives

Delfina Foundation is an independent, non-profit foundation dedicated to facilitating artistic exchange and developing creative practice through residencies, partnerships and public programming.


Founded in 2007, we promote artistic exchange and experimentation. We create opportunities for emerging and established artists, curators and writers to reflect on what they do, position their practice within relevant global discourse, create career-defining research and commissions, and network with colleagues. We forge international collaborations to build shared platforms to incubate, to present and to discuss common practices and themes.
In January 2014, Delfina Foundation expanded into an adjacent building at 31 Catherine Place in central London, becoming London’s largest provider of international residencies.
Delfina Foundation is a non-political and non-grant-making foundation. 


Our guiding objectives are to:
Facilitate mobility of cultural practitioners to develop their practice through a greater access to learning, resources and networks
Foster mutual understanding via artistic practice and exchange
Strengthen international collaboration and partnership through organisations, collectives and networks
Encourage critical and engaging practices in the arts and create opportunities for public interaction, dissemination and enjoyment
Promote contemporary visual culture, particularly under-represented practices and practitioners, and contributing to international critical discourse through our programmes
http://delfinafoundation.com/
Found via - http://spin.co.uk/work/de

DELFINA FOUNDATION

Our mission and guiding objectives

Delfina Foundation is an independent, non-profit foundation dedicated to facilitating artistic exchange and developing creative practice through residencies, partnerships and public programming.

Founded in 2007, we promote artistic exchange and experimentation. We create opportunities for emerging and established artists, curators and writers to reflect on what they do, position their practice within relevant global discourse, create career-defining research and commissions, and network with colleagues. We forge international collaborations to build shared platforms to incubate, to present and to discuss common practices and themes.

In January 2014, Delfina Foundation expanded into an adjacent building at 31 Catherine Place in central London, becoming London’s largest provider of international residencies.

Delfina Foundation is a non-political and non-grant-making foundation. 

Our guiding objectives are to:

  • Facilitate mobility of cultural practitioners to develop their practice through a greater access to learning, resources and networks
  • Foster mutual understanding via artistic practice and exchange
  • Strengthen international collaboration and partnership through organisations, collectives and networks
  • Encourage critical and engaging practices in the arts and create opportunities for public interaction, dissemination and enjoyment
  • Promote contemporary visual culture, particularly under-represented practices and practitioners, and contributing to international critical discourse through our programmes

http://delfinafoundation.com/

Found via - http://spin.co.uk/work/de

Another is a design studio for page and screen, led by Frank Chimero. They make lively work that threads digital and print for culture and commerce.

Many of the qualities they associate with digital mediums—transience, cheapness, piecemeal—also apply to newspapers.

Web Press is an ongoing exploration of this overlap by playing with the possibility of translating digital content (animated GIFs, CraigsList ads, Reddit threads, blog posts, YouTube videos, etc.) into a similarly inclined printed format to “stabilize” it. Interior spreads are designed by students in the workshop, and Chimero designs the covers afterward to capture the feel of the day. Copies of the paper arrive the following week.

A fantastic concept for art and design department cohesion.

http://ofanother.com/

Entries are now being accepted for the Creative Review Photography Annual 2014, celebrating the power of the image to communicate ideas and tell stories in all media 
Details on all the new categories for 2014 can be found here
The CR Photography Annual is changing
• New categories• More exposure for your work• A celebration of the power of the image
Each year the Creative Review Photography Annual showcases the best in commercial photography. For 2014 we are introducing some important changes which will place the emphasis of the awards firmly on celebrating the power of the image to communicate ideas and tell stories in all media.
In addition to our most popular category, Personal/Non-published, in which we showcase photographers’ personal projects, we are introducing new categories to honour not just the creators but also the commissioners of photography, including ad agencies, magazines, publishers, stock libraries and fashion brands.
See details of all our categories here.
Selected work will be published in the special December double issue of CR and showcased to an invited audience of leading creative industry figures at our Photography Annual launch party. In addition, our winners will be showcased across CR’s digital and social media platforms, reaching over a million people worldwide.

Entries are now being accepted for the Creative Review Photography Annual 2014, celebrating the power of the image to communicate ideas and tell stories in all media 

Details on all the new categories for 2014 can be found here

The CR Photography Annual is changing

• New categories
• More exposure for your work
• A celebration of the power of the image

Each year the Creative Review Photography Annual showcases the best in commercial photography. For 2014 we are introducing some important changes which will place the emphasis of the awards firmly on celebrating the power of the image to communicate ideas and tell stories in all media.

In addition to our most popular category, Personal/Non-published, in which we showcase photographers’ personal projects, we are introducing new categories to honour not just the creators but also the commissioners of photography, including ad agencies, magazines, publishers, stock libraries and fashion brands.

See details of all our categories here.

Selected work will be published in the special December double issue of CR and showcased to an invited audience of leading creative industry figures at our Photography Annual launch party. In addition, our winners will be showcased across CR’s digital and social media platforms, reaching over a million people worldwide.

Supreme has collaborated with Neville Brody on a capsule collection of cut-and-sew apparel pieces for its Spring/Summer 2014.
More can seen / read here http://www.researchstudios.com/ at Neville Brody’s blog, research studios.

Supreme has collaborated with Neville Brody on a capsule collection of cut-and-sew apparel pieces for its Spring/Summer 2014.

More can seen / read here http://www.researchstudios.com/ at Neville Brody’s blog, research studios.