Let us all now direct our collective attention to the bay area and the ineffable delight that is Erik Marinovich’s new website. Before I gush something terrible about his lettering/design work, let us first acknowledge the San Franciscan’s co-founding status of Friends of Type (previously enthused about here) and one half of the studio Titlecase made whole by fellow letterer Jessica “Daily Drop Cap” Hische.
Erik, a self-professed “swarthy brush-stroker”, crosses type-genre with happy abandon from hand-rendered cursive one-liners for magazine covers and editorial spreads (the likes of which have been featured in the New York Times, Wired, Newsweek and The Atlantic Monthly) to vectorised branding, advertising and other applied graphics (clients including Gap, Dockers and Converse). There is a real positivity in the work that easily translates because you can tell how much he enjoys his craft and, together with an international and informal friends club of lettering wunderkinds, the quality of the work means that this kind of process-driven type is very much in demand and our written landscape is all the better for it.
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- Milou Trouwborst's refined, simplistic and melancholic illustrations
- "It was strangely liberating" – Christoph Niemann on creating his new book Sunday Sketching
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- Gijs Henselmans’ illustrations: absurd, gruesome, but always hilarious
- All That Glitters: inside the Barbican’s “vulgar” catalogue
- Bompas & Parr explores the strange world of sploshing (NSFW)
- Working Not Working reveals the top 50 companies creatives would kill to work for
- Kodak returns to its 1970s symbol, joining the retrobrand bandwagon
- Kodak unveils the Ektra: its first ever smartphone
- Retracing and recreating historic reggae record sleeves with photographer Alex Bartsch
- William Knight's socially conscious portfolio of graphic design