Between the years of 1965 – 2005, Bernard Chadebec worked as a graphic designer for the National Research and Safety Institute of France. During his 40 years at the company Bernard designed over 300 posters that aided the prevention of occupational accidents. However Bernard’s design interpretations of safety warnings in the workplace grab your attention in a bold, amusing way. The designer created accident prevention posters you actually want to look at, a refreshing take on an area of graphic design infamously mundane.
A selection of posters from Bernard’s career are featured within a new publication, Intrus Sympathiques by Rollo Press, a Zurich-based publisher which charmingly began “more or less accidentally after purchasing a risograph from eBay”. Designed in association with students at HFG Karlshue, the book displays a collection of foldable posters displaying the very best of Bernard’s design approach. Its release coincides with the first exhibition of Bernard’s work at Écomusée Creusot Montceau.
This publication celebrating Bernard Chadebec’s brilliant work proves what could be a monotonous design job can be an opportunity to create something groundbreaking, and fun.
- Dime Shriyeav’s textured poster designs incorporate hand-drawn and digital elements
- Hai-Hsin Huang’s detailed and delicate illustrations present “the lightness of being”
- Laurent Eisler draws playful figures in “precariously balanced compositions”
- Small Gods magazine explores “anomalies of the drone”
- Adam Wells animates Love and Radio’s Dan Deacon interview through obtuse vignettes
- Cat Sims confronts issues of social housing in latest zine, Space
- Fashion photographer Miles Aldridge shoots the cast of Game of Thrones for Time Magazine
- The Netherlands’ royal crest changes gender for national women’s football team kit by Nike
- Peek inside erotic magazine Odiseo’s very NSFW tenth issue
- Rick and Morty’s Exquisite Corpse trailer features 22 animators including Simon Landrein and Bendik Kaltenborn
- Design director, Gail Bichler, on The New York Times Magazine typography exhibition
- Mark Shaw captures the glamour of haute couture runways from the 1950s