Who would have thought that a box of No. 2 pencils could exude style, sophistication and Art Deco flair? But leave it to New York-based designer Louise Fili to use her mastery of typography, pattern, color and all things Italian to create a product that you would be proud to present as a gift – and thrilled to receive. Invited by Princeton Architectural Press to design a line of elegant gift products, Fili came up with a boxed set of 12 double-tipped pencils. Fili felt that the two-sided pencils seemed perfect, thus the name “Perfetto.” On her website, Fili explains that her design was inspired by her collection of 1930s Italian pencil boxes. “Our most preferred are the two-color, double-sided pencils, commonly in red and blue, for teachers to correct homework…red for a minor infringement, blue for a serious offense.” Fili says that they chose not to use blue because it was our least favorite color. Instead she says, “We opted for our signature red and black.” There’s no eraser because that would spoil the beautiful symmetry.
A look at the art movements of the 20th century lists everything from Art Deco, Cubism and Dada to Surrealism, Op Art and Pop Art, but it often skips over the one movement that embodied the youth culture of the mid-century – the psychedelic images of the 1960s and 1970s. Perhaps no one influenced that period more than John Van Hamersveld, the southern California surfer-cum-designer whose “Endless Summer” movie poster became emblematic of the sun-drenched surfer culture. Van Hamersveld, who recalls being paid $150 for the poster, took a photograph of the film’s opening scene and converted it into sunset silhouettes by reducing each color to a single tone and giving each shape a single, hard edge. Van Hamersveld went on to design more than 300 record album covers for virtually every major rock star in the ‘60s. For aging baby boomers, Van Hamersveld illustrations are as much a symbol of the times as Beatles tunes, protest marches, acid-trips and love beads. Van Hamersveld’s iconic images are presented in his latest book, “John Van Hamersveld: 50 Years of Graphic Design,” released in June.
Read More »
Lately street banners with a logo of the Golden Gate Bridge have been popping up all over San Francisco to mark the 75th birthday of the city’s most beloved icon. Designed by Studio Hinrichs, the anniversary logo features the Bridge’s familiar vermillion red (aka International Orange) color, its soaring 746-foot-high tower and the Art Deco-styled sunburst border of the rivets that bolt the Bridge together. Applied to everything from signage to souvenir merchandise, the 75th anniversary logo was created to work in one-, two- and four- colors and remain crisp whether etched onto glass, cast in metal, or stitched on fabric. Along with the logo medallion, Kit designed a special Bridge typeface, called Golden Gate Girder, for a commemorative poster, single alphabet letter keychains and other uses.
Read More »
In January 2007, Sao Paolo, Brazil, did something that would send chills down the spine of most ad agencies. In an effort to rid the city of what the mayor called “visual pollution,” Sao Paolo enacted a Clean City law that banned all billboards and most other large outdoor advertising.
Known as one of the world’s worst billboard jungles, Sao Paolo was rife with illegal billboards and signs. Advertisers had bought up virtually all available street and wall space in the city to hang their gigantic marketing messages. To earn money, some poor residents even sold the front of their homes or space in their gardens to post ad signs. Unable to determine which were legal and which not, the city banned them all.
Since the law went into effect more than 15,000 billboards, 1,600 oversized signs and 1,300 metal ad panels have come down. Strict regulations mandated smaller storefront signage and limited them to hang only above the store entrance and not extend into the street. Even pamphleteering in public spaces was made illegal. Those who didn’t comply faced hefty fines.
Read More »