Columbus, Ohio-based Danielle Evans, who goes by the firm name Marmalade Bleue, pursues a quirky design genre – food typography. She uses food ingredients to create very ephemeral letterforms, such as in a “Food for Thought” video for Target stores.
On her Marmalade Bleue blog, Evans explains how her approach differs from others who have used food ingredients as a writing medium. “Food type had been used sparingly as one-offs in the past, all of which utilized the materials incidentally without applying a typographer’s touch,” she says. “The novelty of food as lettering trumped the presentation and legibility of the forms. I chose to apply my background in illustration, sculpting, and painting to create letterforms with dimension, play of light and edges, and happenstance flourishes with personality.”
Describing her methodology, Evans adds, “Rarely do I use typefaces or fonts to influence my work, instead I rely on the materials to dictate the best course. I’ve chosen a symbiotic relationship with my materials, suggesting rather than forcing their direction. Lettering allows for incidental flourishes and ligatures associated with calligraphy, the true nature of my work.” Intriguing and beautiful. Read More »
More than four decades have gone by since acclaimed designers Massimo Vignelli and Bob Noorda of Unimark International were hired by the New York Transit Authority (now the MTA) to modernize and unify the look of the subway signage, which by Noorda’s own account “was a mess.” Cluttered with varied typefaces of different sizes and rendered on different materials from mosaic tile to a paper sign stuck to the wall, the old signage system confused more than aided travelers. In its place, Vignelli and Noorda developed a cohesive subway wayfinding system designed to promote intuitive understanding — so much so that they promised: “The passenger will be given information or directions only at the point of decision. Never before. Never after.” It did all that and more. The New York Transit Authority’s wayfinding system is still considered a masterpiece of clarity, logic, consistency, and elegant modernist design.
The accompanying 174-page Graphic Standards Manual was as brilliantly written and produced by Vignelli and Noorda. One day in 2013, two young designers at Pentagram – Jesse Reed and Hamish Smyth – stumbled upon an original copy of the manual in the basement of Pentagram’s New York office. The pair found the manual so awesome that they wanted to share it with friends, so they created a dedicated website (thestandardsmanual.com) and posted scanned pages online. The site instantly went viral. Within 72 hours, more than a quarter million people visited the site. Although delighted, Reed and Smyth felt strongly that an on-screen viewing didn’t do justice to the beauty of the real Standards Manual. To truly appreciate it, they felt people should see it full size in print, and they set out to produce a book with an introduction by Vignelli protege and Pentagram partner Michael Bierut and an essay by New York Magazine’s Christopher Bonanos, author of “Instant: The Story of Polaroid”.
Editor’s note: Packaging design presents its own unique set of challenges to graphic designers that differ from other kinds of print design. Here, we asked Brad Murdoch from Process, a premium packaging manufacturer based in Salt Lake City, to help us identify some common mistakes. Process handles custom packaging and fabrication through its network of overseas manufacturing facilities.
Designers are not just ordinary consumers in the battle against suffocating the planet with litter. They are the best prevention and the last defense. Aesthetic sensitivity, retail presence, brand positioning, ease-of-use, safety, etc. are critical considerations when designing, and much more fun than thinking about the packing materials used. As important as it is to recycle and minimize waste that goes to landfill, more pressing is what gets blown away as litter. Fast-food takeout boxes probably kill more creatures than the high-fat junk food they hold. Bad typography may be annoying to read, but you never hear about seagulls strangling on overextended serifs, nor about coral reefs stomped to death by insensitive use of graphic standards. There should be life after design. Design for the afterlife. Happy Earth Month.
The village of Catuera in Paraguay is literally built on a garbage dump that grows by more than 1,500 tons of solid waste each day. The people, including children, who live around this trash heap survive by sorting and recycling the garbage.
Several years ago, Favio Chavez, an ecological technician who worked at the landfill, befriended the poor scavenger families and became acutely aware that the children who worked on the trash pile yearned for something uplifting in their lives. He decided to share his love of playing music by teaching the children to play instruments. At first, Chavez used his own musical instruments to teach them, but so many children wanted to learn that he tried cobbling violins and cellos out of oil cans, jars, scrap wood, forks and other junk to give them something to play, After about four years of experimenting, Chavez and his team began discovering which materials created the best sound. The result is a youth orchestra, now 30 members strong, that produces the sweetest sounds from their recycled instruments. Recently their story has been turned into a documentary, directed by Graham Townsley. It’s an inspiration on many levels.