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.
- Claire Hentschker: the artist who recreated The Shining as an interactive 3D space
- Rosanna Webster and Phoebe Henry’s cinematic portrait of Cuba
- Alex Hunting’s crisp editorial designs are considered and multi-layered
- Raine Allen Miller’s latest ad shows kids experiencing the “side effects” of tech toys
- Colin Pantall's warm depiction of childhood and fatherhood taken over 12 years
- Ahmet Unver uses photography to explore his Swedish and Turkish roots
- Hate the iPhone X notch? There’s an app for that
- Lisa Simpson’s bookshelf: from the curator of Instagram’s Simpsons Library
- Biplab Hazra’s photo of elephants being attacked by mob wins Sanctuary prize
- Michael Bierut: 13 ways of looking at a typeface
- Uncle Ginger uses hypnotic shapes to animate the facts and feelings of bipolar disorder
- Michel Gondry’s John Lewis Christmas advert – Moz the Monster – is unveiled