A History of Graphic Design Production has just been released. Directed by Briar Levit, the film explores the huge changes that took place in graphic design from the 1950s through the 1990s – from linecaster to photocomposition and paste-up to PDF.
Why Not Associates says it was asked to create a clear, bold visual language for deSingel that would illustrate ‘its dynamic, vibrant and unique qualities’ – and reflect its distinctive architecture.
The identity uses a suite of shapes based on the shape of deSingel’s buildings and features within them such as windows and staircases. Shapes can be used alone, overlaid on imagery or used to crop photographs for posters and leaflets.
The new logo, meanwhile, is based on deSingel’s original mark which was created by typographer Herbert Binneweg in 1979 and appears on the facade of one of its buildings. deSingel had previously been using a different logo, which Why Not was asked to retain, “but looking at the original, we thought ‘it’s really quite nice, why change it?’” says Altmann. Instead, Why Not proposed returning to Binneweg’s simple letterforms, but changing up the colours of letters to create a more vibrant and dynamic look. “It’s a simple idea, but it was quite a break from the brief, which was to stick with the logo they’d been using for the past few years,” adds Altmann.
New York branding agency Gretel has created the visual identity for Vice’s new TV channel, Viceland, which launched in the US on Monday. With a black-and-white colour palette and just one typeface (Helvetica bold), it’s a surprisingly pared down look…
Nadav Kander has shot a striking set of portraits for a new Samaritans campaign, which places emphasis on how difficult it can be to talk about our feelings.
Graphic designer Cléa Dieudonné’s new children’s book folds out to reveal a three-metre long illustration depicting the fascinating fictional city of Megalopolis.
Megalopolis is published by Thames & Hudson on March 7. The book tells the story of an alien who travels from space to find a fictional city complete with a zoo, Chinese gardens, opera house and underground network of tunnels.
Instead of reading from left to right, viewers navigate the book vertically – each panel folds out to reveal a new part of the story and a new section of Megalopolis, stretching from the clouds to dwellings hidden deep underground. The attention to detail is impressive, with unusual creatures and scenes hidden in every panel: there are over 100 buildings and 514 inhabitants, plus ghosts, thieves, cars, cakes and pastry chefs, giving children something new to look out for on repeat readings.
“Digital children’s books combine my passion for children’s stories, illustration and graphic design. I find it so wonderful to see kids going crazy over Megalopolis, searching for thieves together and noticing all the little details. After the tremendous amount of work that went into the project, there’s no greater satisfaction than to watch children bring the story to life.”