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Graphic Design

People Collective

Posted by Alex Bec,

This week a site all the way from Melbourne made its way onto my screen from People Collective; a collaborative outfit between Aaron Moodie & Colin Trechter. Since a chance meeting in 2008, the duo have found themselves serendipitously drawing, shooting, cutting, playing and most importantly (for us), creating. More to come from these guys methinks…

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Posted by Alex Bec

Alex is one of the directors of It’s Nice That who now oversees our sister creative agency INT Works. For several years he oversaw the Monday Morning Music Video feature until it came to an end in 2014.

Most Recent: Graphic Design View Archive

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    Kit Russell’s Flatland poster isn’t just any old poster, oh no – it’s a poster that can be turned into a sphere. Or a sphere that can be turned into a poster. Recent illustration graduate Kit has also created a poster that morphs into a square, and the pair are an imaginative interaction with Edwin A. Abbott’s 1884 novel Flatland. Subtitled A Romance of Many Dimensions and written under the pseudonym “A Square”, Abbott’s tale is a social satire commenting on the hierarchy of Victorian society. The narrator – a square – lives in a two-dimensional world where he is visited by a sphere and convinced of the existence of another world, a three-dimensional world. Sadly, no-one else in Flatland will believe Spaceland exists and Square is ignobly dunked in the slammer. Lewis Carroll meets M.C. Escher and the Mr Men, if you will.

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    It’s been almost two years since we officially checked in with Swiss poster maestro Felix Pfäffli – although of course we’ve been keeping an eye on a few of his side projects and collaborations with his brother Mathis. As ever he’s kept up with the challenging task of delivering poster after glorious poster for Südpol’s cultural events (every one’s a bloody winner) but he’s also branched out into educational activities in LA and started to experiment with moving type. His recent work for Wired shows his usual bold, graphic language translated into flowing organic forms, maintaining that trademark Feixen feel but through a dynamic moving medium.

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    An old soul such as myself appreciates when modern-day designers and illustrators go out of their way to make something look like it fell out of a cardboard box that hasn’t been opened since 1972. When I first came across SEEN I was convinced it was a whole group of people, but it turns out it’s just one really talented guy called Rob Carmichael. He alone is responsible for creating some of the best album artwork around at the moment.

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    I have heard it said that the New York graphic design scene is more splintered and less cohesive than its London counterpart, but the Image of The Studio initiative we covered last year was a fascinating way of bringing together more than 75 NYC studios to compare and contrast the way they each work. It also became a great resource to discover designers we didn’t know that much about, and with each studio commissioned to create something original that reflected their philosophy and aesthetic, it provided a great way into the New York scene.

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    German design studio Hort prides itself on being an “unconventional working environment” and a “place where work and play can be said in the same sentence.” In this video by Analog Mensch Digital, Hort’s much-loved creator Eike Konig talks about their work and ethos whilst rolling paint and printing a poster. The camera wanders about the studio past leaning bikes and big white desks, scrolling up bookcases and dwelling on the Anthony Burrill posters gracing the walls. Eike is always worth listening to, whether he’s musing on the differences between international and German clients, traditional and digital work and the morals of design. He says: “Visual language is a strong language. We have responsibility in the use of this power.”

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    It seems that Jacob Klein and Nathan Cowen are incapable of turning out a dud project. From their humble beginnings as a meticulously curated stream of stunning imagery to their present guise as multi-faceted design and art direction agency, the Haw-Lin boys just keep on coming up with the goods. This might not seem surprising to devotees of their original Haw-Lin blog, but it’s surprising how often arbiters of style lack substance. Not so for these boys; their fanatical eye for detail goes beyond simple aesthetic curation, extending into a portfolio of capsule collections for fashion brands, editorial shoots for the most erudite magazines and immaculate lookbooks that manage to add depth and pace to publications that can often be painfully bland.

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    In the introduction to his exceptional new Erik Spiekermann monograph, Johannes Erler sums up “Spiekermann in two sentences” by way of this quotation: “I’m totally chaotic. I’m so untogether, my left leg doesn’t even know what my right leg is doing. I need order. I need systems. I don’t really do anything without a design grid.”

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    Of all the design disciplines, typography is almost certainly the least sexy. But Dan Rhatigan is one of the people who is able to talk about type in an engaging, and very human way. Earlier this year the Monotype type director worked with Grey London on Ryman Eco, described as “the world’s most beautiful sustainable font,” as it uses 33% less ink than the likes of Arial, Times New Roman, Georgia and Verdana.

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    In the year-and-a-half since we first featured Belgian designer Vincent Vrints on the site his fortunes have risen with the quality of his work. We were always enamoured with his canny ability to create aesthetically astounding imagery and merge it with equally appealing layouts, but he’s refined his process and embraced some new digital techniques resulting in a portfolio that floats between the retro and the ultra futuristic.

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