Scottish-born, London-based designer Caterina Bianchini joined us at December’s Nicer Tuesdays at the tail end of last year, taking us through the process behind her work which filtered into See You At The Dance, a recent book compiling her poster work.
Caterina began her talk by showing her overall process for creating work, whether it be for a club night or a commercial client. Coining her own way of thinking titled “The art of seeing” from the influence of John Berger’s Ways of Seeing and Bruno Manari’s Art as Design, to lead the work from a conceptual point of view.
When it comes to the more logistical ways of working, Caterina then went on to explain the three methods she applies to graphic design. The first key thing you can expect from a piece by her is the personification of type where she’ll think “about typography as if it was a person”. From there she’ll work on the layers, “building up type and juxtaposing it against colour blocks” and finally adding a touch of charisma to pull it together as it’s “one of the main things I try to use and showcase in all my work.”
- Pedro Destefani explores the relationship between Stan Smith the man and the brand
- Xiaopeng Yuan reinterprets the Chinese fable, The Butterfly Lovers, in a series for Télévision magazine
- Creativity and control: Stanley Kubrick's obsessiveness and the meticulous films it produced
- Oscar Maia translates the essence of his native Porto into a new publication
- Louise Bonnet paints exaggerated bodies as symbols of melancholy and loneliness
- Mathieu Larone illustrates the "elusive liminal space between the cryptic and the understandable"
- Pornhub decides to try out beesexuality with new awareness campaign
- “The time just feels right”: Stuart Brumfitt and Mirko Borsche, editor and designer of The Face, on its relaunch
- Graphic designer Shao Nian's portfolio ranges from academic publishing to experimental magazines
- Daniel Gebhart de Koekkoek recreates the ingenious yet useless inventions of Chindōgu
- The Washington Post's climate change issue features 24 equally important covers
- Philip Gerald's lowbrow, crude paintings are a reflection of his views on the art world