400 Bad request

Who doesn’t know typographer/art director from the 50s and 60s Roger Excoffon? Published for an exhibition at Musée de l’imprimerie in Lyon, this book gather more than 100 documents previously unpublished.

éditions Deux-Cent-Cinq
Format 14 x 19,5 cm / 128 pages
Softcover
French texts
1000 copies, printed in France!
Graphic design: Extrafine
15 €

Today’s designers and illustrators are synthesizing the best elements from past eras of graphic design to create a new visual language with a reduced and rational approach. The Modernist documents this uniquely contemporary, yet timeless aesthetic that is built upon the rediscovery and seamless melding of classical type elements and collage of the 1950s, the geometric patterns and graphic elements of the 1960s and 1970s, and the vector graphics and computer-aided montage of the 1990s. With its fresh perspective on the legacy of past craftsmanship and quality in outstanding current work, The Modernist expands our understanding of what modern graphic design can be.

The Modernist
Editors: R. Klanten, H. Hellige
Release Date: April 2011
Format: 24 x 28 cm
Features: 192 pages, full color, softcover
Price: €35.00

Lars Müller Publishers offers a 20% on their Classics of Swiss Graphic Design books by entering by entering the code DESIGNCLASSIC when you place your order.

Senior Graphic Designer & Illustrator Rejane Dal Bello has been based in The Netherlands since 2004. Originally from Rio de Janeiro, she began her career working for renowned branding & design companies in Brazil.

After her BA in Graphic Design in Rio de Janeiro, Rejane went on to study under Milton Glaser at the School of Visual Arts in New York City. She completed a MA at Post St Joost Academy in The Netherlands in 2006. During her MA, Rejane joined Studio Dumbar, a graphic design studio that has established a unique position in the Dutch Design scene.

Rejane is currently a Senior Design at Studio Dumbar, as well as a member of the faculty of Post St Joost Academy, where she teaches Graphic Design and Creative Process.

A funny project by Josep Basora.

Serigraph. 29.7 x 42 cm
Johnston Underground or Gill Sans, Akzidenz Grotesk or Helvetica, Futura and Avenir. Typefaces based on other Typefaces. Historical duels.

Parisian Anatome Gallery presents from May 6 to July 23, 2011, an exhibition dedicated to Paul Renner’s Futura.
It will showcase the work of many international renown designers and the complete history of the typeface.

Opening hours
Tuesday – Saturday, 2 PM – 7 PM

This exhibition is also the occasion to present the book written by the curators Michel Wlassikoff and Alexandre Dumas de Rauly: FUTURA, une gloire typographique.

Burton Kramer Identities is an important and comprehensive book on the work of a leading Canadian designer, educator and painter, who practiced for over 50 years.

Kramer began his design career in the New York office of Will Burtin and went on to work at Geigy under Gottfried Honegger. In 1961, he moved to Zurich, Switzerland, as Chief Designer at the E. Halpern Agency, where he created award-winning work. In 1965, Kramer moved to Toronto to work on graphics and signage for Expo 67. In 1967, he founded Kramer Design Associates, creating identity programs for the Royal Ontario Museum, Ontario Educational Television and in 1974, his well-known logo and identity program for the Canadian Broadcasting Corporation.

His logos and corporate identity work have been published in numerous books and journals worldwide. In 1999, he received the Lifetime Achievement Award from ArtsToronto; in 2002, the Province of Ontario awarded him the Order of Ontario for his cultural contributions; and in 2003, the Ontario College of Art & Design granted him an honorary doctorate, D.Des.

Since about 2001, Kramer’s focus has shifted from design to painting. His abstract, geometry-based, lyrical, colorist paintings have been shown regularly in galleries in Europe, Mexico, Colombia, the USA and Canada.

$53.82 [USD]
186 Pages / 8.5 x 8.5″
Paperback, CMYK Print
250+ Images / 9 Articles

In June, Linotype AG will be releasing Christian Schwartz‘s faithful recreation of Neue Haas Grotesk as it existed when it was first introduced to the world in 1956 by the Haas’sche Schriftgiesserie in Basel. Originally begun, but not used, for Mark Porter’s 2005 reimagining of The Guardian, and later completed for Richard Turley’s lauded 2010 redesign of Bloomberg Businessweek, this digital typeface was at heart a restoration project: bringing Eduard Hoffmann and Max Miedinger’s original vision for Neue Haas Grotesk back to life with as much fidelity to his original shapes and spacing as possible, rather than trying to rethink Helvetica or improve on current digital versions.

Commercial Type is pleased to be exclusively offering this family to their customers and friends for a limited time before the wide release. For a limited time of two weeks Neue Haas Grotesk is available directly from Commercial Type.

They have set up a private area on their website where the fonts can be viewed and licensed:

http://commercialtype.com/visitor_login
username: nhg
password: miedinger

Designing the posters for the annual Kieler Woche sailing regatta has developed into one of the most prestigious European design competitions since it started in 1948. Since 1959 only five designers or design practices have been invited to take part in the competition, so that participation as such represents a distinction and has proved a crucial milestone in many designers’ careers. Winners and participants such as Ruedi Baur, Wim Crouwel, Willy Fleckhaus, Jan Lenica, Josef Müller-Brockmann and Odermatt+Tissi are outstanding European designers. The brief has remained unchanged for 60 years, and offers a unique survey of the development of European graphics.

14.8 x 21 cm, 5¾ x 8¼ in, 128 pages, approx. 150 illustrations, softcover (2010)

Order over at Lars Müller Publishers.

I like these Jan Tschichold inspired illustrations by Portuguese designer Cristiana Couceiro.