In the spirit of design experimentation Ben Newman has taken his illustrations off of the page and into the third dimension with new Nobrow show Masks. Featuring 11 brand spanking printed works that merge shamanistic headgear and mid-century design to striking effect, Ben has also made three of his designs into intricately layered wooden objects in an enviable display of father/son collaboration (I once set up a huge Scalextric track with my dad but that was never shown in a gallery). We popped down to Nobrow’s Great Eastern Street space on opening night to see how things were coming along.
To see Ben’s work in the flesh is to be stunned. His creations are so precise and laboured you’d naturally assume them to be computer-generated, but being a champion of traditional processes they are in fact all hand drawn. Regularly working with industrial lithography has also given him a flair for colour that is rarely seen amongst contemporary illustrators – building up images using a limited palette of over-layed process colours gives Ben’s work a muted subtlety that is best seen in the flesh.
In short, check it out.
- Harley Weir and Jamie Reid explore the functions of the female body for Baron
- Haw-lin Services and Tim Schmitt on their sci-fi identity for Berlin Biennale
- Winning proposals for regeneration of Old Street Roundabout announced
- Designer Paw Poulsen turns celebrities such as Bill Gates and Elton John into typefaces
- Friday Mixtape: a genre-spanning mix from creative agency Mogollon
- Non-Verbal Club's typography-heavy, sleek identity for Teatro Nacional de São Carlos
- Netflix unveils Netflix Sans, a new custom typeface developed with Dalton Maag
- Lacoste swaps famous crocodile logo for ten endangered species
- A chat with the Orwellian mastermind in charge of the UK town known as Scarfolk
- Will Anderson’s Bafta-nominated animation Have Heart follows a gif stuck in an infinite loop
- Original sets and puppets from Wes Anderson’s Isle of Dogs to be exhibited in London
- Dive into Mikey Joyce's portfolio with its “healthy balance of calculated and convoluted silliness"