Tag Archives: its nice that

Otl Aicher

German designer and typographer Otl Aicher created a series of posters based on the small German town of Isny im Allgäu. The images presented the area in a new way, visualising the town in 128 pictograms that were “stark, reductive and entirely black and white”.


Aicher worked with brands such as Lufthansa, Braun and Bulthaup, and was well-known for the Munich Olympics identity in 1972 — a project that garnered him the reputation as “father of the geometric man”. Further to this, his work is was reputable for its simple approach, which dn&co describes as “an economy of line drawn with an often mischievous twist”. The aim of the exhibition is to celebrate the work of the iconic 20th Century designer, featuring the “most comprehensive collection… ever to be seen in the UK”.


SEA’s – Made in Italy book


Europe has a fine graphic design tradition but certain countries – Switzerland, The Netherlands, and the UK – tend to predominate when it comes to coverage. And so we’re always keen to hear about initiatives that celebrate lesser known design scenes, such as SEA and Fedrigoni’s upcoming exploration of Italy’s graphics heritage. Made In Italy showcases post-war Italian graphic design by way of a show in east London and a series of monographs focussing on some of the most interesting practitioners – Ilio Negri, Heinz Waibl, Franco Grignani and Giancarlo Iliprandi. With amazing access to the Aiap archives in Milan, SEA has also put together a book for the show with the explicit aim of putting this “untapped” subject firmly in the spotlight.

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Paula Scher’s confrontational Shakespeare in the park identity


Paula Scher and her team at Pentagram have created the campaign for a Shakespeare performance programme in Central Park, using bright colours and a provocative typographic style we wouldn’t perhaps usually associate with the Bard. The project saw Paula dismantle the existing identity for the Public Theater, which facilitates the park performances, and acts as a preview for the look of the graphics for the organisation’s 2015-16 season. The imagery is based around the word “free,” and uses slices of type that slash through one another and through existing photographs.





“The tempest of type creates a mini-identity that both dramatically updates and functions within the familiar Public Theater brand,” says Pentagram. “With countless expressions in print and digital media, as well as environmental installations like snipped posters on the street, the identity is ‘always on’ and meets audiences wherever they are. An institutional identity must look as good in an ad in a Google search as it does in signage on a front of a building.”

Paula worked with Pentagram designer Jeff Close and the Public’s art director Kirstin Huber and her team on the project.