326 results found
- Image of the Day, February 17, 2012
By Benking From the new (to me) tumblr “Move Poster of the Day,” 1961 Polish poster for Moby Dick.
- Image of the Day, April 25, 2012
By benking Album cover for Skeleton Key.
- Image of the Day, April 24, 2012
By benking Really wonderful food photography by Zachary Zavislak.
- Vintage Heller: Begging Your Pardon, Mr. President
Editor’s Note: Over the years, Steven Heller has written thousands of installments of his blog, The Daily Heller. With Vintage Heller, we’re exploring entries from the archives. This post first appeared in 2017. In a world where many innocent people are incarcerated without parole, other guilty ones are pardoned and set free, and animals are routinely killed as trophies, it's good to know that there is some justice in the fowl world. Thank you, Mr. Presidents, for your mercy at this time of the year. It sends a fine message. Here’s to the holiday from the folks at The Daily Heller. We wish everyone a well-designed world where we give thanks to the Constitution, the Bill of Rights, free thought and expression, and free gobblers. Make turkeys great again. #DailyHeller #StevenHeller #Thanksgiving #Turkey
- Image of the Day, April 26, 2012
By benking We’re suckers for a nice ampersand.
- BrandBox: Breaking Down the Brand Standards
Soon, we'll be launching an all-new PRINT initiative—the PRINT Podcast Studio—featuring cutting-edge podcasts we love. In the meantime, as a sneak peek of the shows we intend to spotlight, we present BrandBox by Tom Guarriello and Mark Kingsley, “a (playful and thoughtful) podcast on the strategies and effects of brands.” In this episode, the show’s sixth, Guarriello and Kingsley explore the subject of brand standards in a dynamic world. Show Notes Henry Cowell's Tone Clusters Don Pullen Improvising With Tone Clusters (between the 4 and 6 minute marks) Leonard Bernstein's Harvard Lectures Standards Manual, Publishers Standards.site The Worm is Back! Designer Richard Danne on the NASA Worm Trump’s Executive Order on Protecting American Monuments, Memorials, and Statues and Combating Recent Criminal Violence The American Museum of Natural History Grapples With its Most Controversial Piece Trader Joe’s Knows That Petitions Aren’t Commandments Trader Joe’s Defends Product Labels Criticized as Racist Alfred Hitchcock on Improvisation The Harper's Letter Max Horkheimer's Critique of Instrumental Reason Jürgen Habermas Hannah Arendt The Human Condition The Milgram Shock Experiment The Stanford Prison Experiment FBI History of Patty Hearst and the Symbionese Liberation Army Cognitive Dissonance Ship of Theseus Platonic Idealism The Shareholders vs. Stakeholders Debate Howard Bloom Actress Marilyn Chambers on the Ivory Snow Box SVA Masters in Branding program // Music courtesy of Mikel Rouse // Dr. Tom Guarriello // Mark Kingsley
- Paula Scher’s Mind-Bending Maps
Print has been acquired by an independent group of collaborators—Deb Aldrich, Laura Des Enfants, Jessica Deseo, Andrew Gibbs, Steven Heller and Debbie Millman—and soon enough, we’ll be back in full force with an all-new look, all-new content and a fresh outlook for the future! In the meantime, we’re looking back at some of our favorite pieces, such as this one by Jessica Zafarris. Enjoy. A tempest of hand-painted words swirls, tumbles and writhes across a 7-foot-tall canvas, forming a map of the United States. A far cry, perhaps, from Pentagram Partner Paula Scher’s sleek, ubiquitous identity designs, but cartographic paintings have been the tailside of her creative coin for nearly 20 years. The design legend’s fascination with maps began in the 1950s, informed by her father Marvin Scher’s work as a civil engineer for the U.S. Geological Survey. “He was obsessed with accuracy,” she recalls. “He was the one who told me how inaccurate maps were. He said the earth is curved, and photography is flat, so what you see isn’t really what’s there.” Specializing in photogrammetric engineering (the science of the camera and how it captures imagery), Scher’s father invented stereo templates, a measuring device that made camera lenses capable of correcting distortions that occur when aerial photography is enlarged. If not for that invention, precise mapping software such as Google Maps would not exist today. In a playful perversion of this accuracy, Scher’s map paintings allude to distortion in the presentation of data on the web and in the media. Today, people look at charts, maps and infographics as if they are always completely accurate. That’s a mistake, she says, and a dangerous one. “Data isn’t neutral,” Scher says. “It’s gathered, which means someone is editing it. Someone will make a chart, and it might be right, but it’s not literal fact. You don’t know what factors are included or not included. My map paintings are nothing but opinion. I’m controlling the data any way I want and I’m blatantly open about it. I’m using it to create an impression.” New York City’s Bryce Wolkowitz Gallery showcased a new collection of Scher’s maps in an exhibition entitled “U.S.A.” It was the first release of 10 maps of the United States she painted between 2014 and 2016, taking an interpretive and chaotic look at various data sets including climate zones, zip codes and transportation flow—complete with cultural and political commentary. The pieces in the exhibition are, in Scher’s words, “all the same and all different.” “I did it largely because [it was] an election year, and I’m fascinated by statistics and the way people vote and the way people think and why they think that way,” Scher says. “I began looking at the country and population centers and what’s near something else. Where’s the North, and where’s the South, and where do they meet, and what do people really think about when they’re in the middle? When you look at things like that, you gain a sensibility about why things exist and how they happen and why we are the way we are. It’s right there on the surface of the map.” “US Demographics and Economy” detail Although she has created at least 55 wall-sized maps featured in galleries across the U.S., Scher’s adventures in opinionated cartography began on a smaller scale. Her earliest hand-drawn maps and word-dense visualizations of quotes in the media were more personal creative projects that documented the way she saw and felt about the world. One of Scher’s first projects in the same vein was a hand-drawn illustration of the United States for a 1989 AIGA cover. After that, demand for her illustrations swelled. But when potential clients sought to control the copy that comprised each intricate creation, Scher lost interest. She painted her first large-scale map in 1998 in her home, without considering that it would appear in a gallery or show. “It was around the time I was designing the Citibank logo in 1998; we had become completely computerized, and I never touched anything as a designer anymore,” she says. “Everything was made on a computer. There were no art supplies anymore. I felt completely odd, like I didn’t make anything. Even though I made a lot of things, I felt like nothing was happening. I realized I missed working with my hands. So we have this big house, and I thought it would be interesting to see one of those maps I painted really big. I thought it would be better.” She worked on her in-home map for nearly three years before, during a visit to her home, filmmaker and painter Jeff Scher (no relation) saw the painting and recommended Paula to his gallery. Scher starts the process of creating her maps with little planning—a look at several maps of a given region and any relevant data sets. “It’s aesthetic, and also emotional,” she says. “I describe it as abstract expressionist information—that you are taking information and manipulating it to create a sensibility.” “U.S. Geography and Climate” detail The words that appear in her map paintings describe the historical context in which she creates them as much as they comment on the geography and population of the region. None of the maps she has created are simple, but perhaps the most intricate of her recent paintings is “U.S. Counties and Zip Codes, 2016,” featuring a tangled background of postal codes and county names that extends into the oceans where Scher ran out of space. “After I finished it, I looked at it and I decided I was probably really crazy, and I was annoyed at myself [while painting it],” Scher says. “All of my maps, if you take them down, are usually population maps. They’re about place names, and you see them become dense or more sparse, and that’s all about population.” “U.S. Counties and Zip Codes” detail Scher has reinterpreted the entire world again and again—continents, countries, cities, even political landscapes and timelines of media coverage. In 2011, she also published a book featuring dozens of her maps, installation pieces, drawings and prints, appropriately titled Paula Scher: MAPS. Scher’s cartography speaks to the importance of place in her life and work. The chaotic style of her paintings—as well as her design work—is influenced in part by her life in New York City. “The loudness of my work as a graphic designer is a result of New York,” she says. “Things are packed in, they’re noisy, they’re irritating. And then on the other side, I think that the painting is all about being bombarded with media and how you see and hear things.” Scher’s maps may be impressionistic, but the narrative she constructs reflects the distorted, complex state of the world today—and encourages the rest of us to do the same. Like most sites, Print uses Amazon affiliate links, and may receive a small commission on them. #maps #PaulaScher
- N26 Mobile Bank Puts A Design-Forward Experience Into The Hands Of Consumers
One might not necessarily consider stunning designs when it comes to mobile banking, but thanks to N26, that might change. Utilizing a clean, modern typeface for the logo, along with ample negative space that conveys a luxurious brand feel, N26 makes a beautiful case for stylish banking. The concepts the bank is working on: Peace of mind, Travel, and Partners Access are conveyed through beautiful imagery of metals displayed in surreal settings. The images are stunning in their intention and will stay in a consumer's mind long after they've closed their banking app. N26 is a mobile Bank with a clean aesthetic and sharp visua1 identity. In early 2020 they contacted us to create three small videos representing the next concepts: Peace of mind, Travel and Partners Access. Highlighting the three Metal products available at the moment: Slates, Quartz Rose and Charcoal. During the lockdown in Spain, we had the pleasure to work on many projects in a situation we weren’t used to. Fortunately, this project turned into this exceptional experience as one of the funniest and calmest processes we have done. And this is shown in the result of these pieces we feel proud to share. Below, you'll find a collection of images taken from the Design process in addition to the main Hero piece we delivered to the client. We hope you’ll like them as we do. Credits: A project by Six N. Five Films for N26. Creative Direction: Six N. Five Animation: Sebastian Baptista, Valery Polehenky, Joan Guasch. Simulation: Valery Polehensky, Ferran Sellarès, Joan Guasch. Design: Ezequiel Pini, Joan Garcia Pons, Evaldas Cesnavicius, Joan Guasch, Valery Polehenky, Simon Kaempfer. Sound Design: Aimar Molero
- Beijing Olympic Graffiti
By: Erin OHara | June 1, 2008 Political unrest often inspires street art, but the controversy surrounding whether China should host the Olympics—and whether anyone should attend the games—has started a global graffiti deluge. In Europe, street artists are urging passersby to boycott the Beijing Olympics. Some of the pieces are created using simple stencils—handcuffs assembled in the shape of the Olympic rings (Munich), a man holding an Olympic torch with the word “FREEDOM” in place of a flame(Milan), or a gagged prisoner with a red bleeding torch and dripping red lettering (Prague, above). More complex pieces, like the life-size spray-painted portrait of a Tibetan Buddhist monk being set ablaze with the Olympic torch by a man in riot gear, appeared in Bangkok, where torch relay protests were banned. One piece, done on paper and posted on a London street, shows a Chinese police officer with his hand in front of the Olympic rings and asks “Be(ij)ing there?” Even Banksy has contributed to the conversation: As part of the Cans Festival in May, he painted a neckbrace-wearing Buddha on the walls of the Leake Street Tunnel in London. But Olympics-themed street art is also popping up in a somewhat unexpected place: China. In keeping with China’s tradition of long, impressive walls, the government sponsored a 200-meter-long mural on an exterior wall of the Beijing Institute of Technology, painted by local students who were monitored throughout the construction process. The mural features portraits of Chinese athletes and the Fuwa, the cuddly Olympic mascots, as well as imaginative representations of the Olympic rings. Panels contain lots of traditional Chinese opera masks, yin yang symbols, “Love China” hearts, and one large panel portraying a line of athletes each painted a different color of the rainbow. The official slogan of the Beijing Olympics, “One World, One Dream,” which appears numerous times on the wall, has also been used in many “Free Tibet” protest campaigns. Allowing street art may seem like a fairly progressive move for the Communist government, but according to an article in The Guardian, some local residents are still calling the artwork propaganda. Real graffiti artists aren’t too impressed, either. On a building in Changchun in June, graffiti artists painted a giant mural in the middle of the night, featuring the official Beijing Olympics logo, the Fuwa, and portraits of two iconic Chinese athletes, Yao Ming and Liu Xiang. Even though the mural supports the Olympics, the government and some older community members were not pleased. The piece has not been removed, but the artists may still face penalties. The anti-Olympic graffiti has also been judged harshly by Chinese graffiti artists. Steel Dan, a graffiti artist based in Beijing, said, “Some of the anti-Olympic pieces I have seen are obviously done by amateurs who are more concerned with their agenda than the art form itself.” In other areas, including the artist-heavy 798 district (also known as the Dashanzi Arts District) in Beijing, graffiti artists have also taken to the streets to do some work before the games begin. “The local government organized mural projects in the city to cheer on the Olympic spirit,” said Soos, another Beijing-based artist. “A few of us true graffiti artists decided to show our talent near our art home base of 798 district.” Art Min, co-founder and manager of Beijing- and Seattle-based gallery Red Star Press, says that Chinese graffiti artists support the government in part as a survival mechanism. “As you can imagine, there are harsher penalties for vandalism in China,” he says. “So, one perspective is that by putting up graffiti that supports government initiatives or policies, the work won’t be viewed as ‘offensive.’ It gives graffiti artists an opportunity to practice their craft. If they’re caught, they may not receive the full wrath of the law.”
- Vintage Book Covers Spring to Life Once Again
German animator and designer Henning M. Lederer has helped clients like Mercedes-Benz, Bosch, Toyota, the Porsche Museum, Facebook and more visualize the future—but every year or so he dips into the past to blow our minds. Vintage paperbacks often made brilliant use of geometric play, and Lederer has long had a knack for giving them new life. His latest hypnotic delight dropped yesterday. Here it is—along with the four that preceded it, proving that in some cases, judging a book by its cover is justified indeed. #animation #bookcovers #HenningMLederer #vintagebookcovers RELATED POSTS 3 Best Biographical Comics of 2018 Comic-Con’s Eisner Judging and the New “Comics & Design Awards” The Unexpected Designs of Famous Designers Little Dot: A Comic Book Pioneer of Today’s Avant-Garde Art Scene Art Camp Creates Stop-Motion Animation Video for New U2 Song Release