I was lucky enough to visit Istanbul for its inaugural design biennale back in 2012 and although I was blown away by its creative scene, I didn’t come across too much graphic design. Rummaging through Studio Sarp Sozdinler’s website this week, I had the nagging feeling that I might have missed out.
Sarp studied in Vienna and has worked at various studios, learning from some of the best along the way (last year he interned at Base Design in Brussels, next year he heads to NYC to work at Sagmeister & Walsh). His own studio takes on books, posters, magazines, websites, exhibitions, product design, signage systems, film art direction, custom typefaces and visual identities, and if that wasn’t enough Sarp also founded the type foundry 383C, the experimental music practice EATING POMEGRANATES and the publishing imprint EDITIONS INÉDITS.
His portfolio is a treasure trove of interesting work but we’ve chosen to focus on his poster design from the past couple of years; strong, communicative and often powerful pieces that point to a designer whose craft is evolving at pace.
- Nazif Lopulissa rethinks the shapes and forms of the children’s playground
- Egg is an animation about attempting – and failing – to take control of something you are afraid of
- Why creatives should take the election advantage
- Adrienne Law on making something digital feel physical
- Kyuho Kim imagines the shapes of words in his inventive design practice
- Stomping boots and pouting lips, Taylor Silk’s woven women are icons of female sexuality
- “We want to challenge and disturb the audience”: meet graphic design studio Alliage
- Matt Willey leaves The New York Times Magazine and joins Pentagram
- Ikki Kobayashi’s new series investigates the tension between shapes and negative space
- “Perfectly beautiful things don’t attract me”: Heesun Seo on her nontraditional practice
- The Pantone Colour of the Year 2020 makes a statement about peace and communication
- Moleskine’s digital notebook and a visual inventory of Earth win Apple's Apps of the Year