This is how you do ribbons. By way of caleboweneveritt.
Not the most inspired name for a fashion label, but a damn tasty logotype. Elegant, classic, everything you want on a tag of your shirt.
Meme inspired record covers with no text the next big thing in LP ART?
Always trying to predict the next big thing, especially in terms of fonts. I thought stencil would get big but i don’t think thats going to happen. I’m putting money on this style of Giza, I saw it in the Nike showroom in Harajuku on shoe labels, but I think Non-Format have something to do with it. This will be my main display font for Issue 5.
The biggest design craze of 2009/2010 has been illustrative typography. I’m not going to post a whole lot because you only need to pick up a copy of Computer Arts too see that everyone is having a go. If you look through some of the ADC Young Guns 7, most of those designers have had awarded work that looked at type in new and interesting ways. I’m still so so about it, I can really appreciate completely hand rendered typography and really dense shit, but i much prefer classical, cleaner styles, especially in print. Too many different executions loose the ‘single voice’ of your work. That said, I love this donut and coffee ampersand by Dan Beckenmeyer.
Talking about banners or ‘scrolls’ which is more appropriate, here’s one for Optus (i imagine M&C Saatchi studio department knocked this up). This is what they shouldn’t look like!
“In the summer of 1984 anvil toured the world with the biggest band in rock. All of them sold millions of records around the world. All of them, but one.”
Ok now for the logos.
Scorpians, classic 70’s sci-fi feel, the font Lady Starlight gets pretty close but it’s design date is 1999 so it’s probably a tribute.
Whitesnake is my favourite of the lot, great 3d cursive treatment. Obviouslly hand done, it reminds me a bit of this post and the Wrangler jeans logo.
Then there’s Bon Jovi. These guys made the most money out of pop metal, but conversely are considered the gayest, biggest sell out’s and generally garner little respect from people who like music. They don’t really have a logo , it seems to change every record but this one is pretty awful-over extended, oblique all caps-looks more like the backstreet boys..
Now go rent the Anvil documentry!
Banners still killing it, in both regular schoolboy graphic design, and as devices in editorial design (where i think they’re better suited).
What is the cover font for Dazed and Confused (MIA cover)? It looks mad, reminds me a little of the font used on Sagmeisters things ive learnt cover-all the letters are really unique, but it doesn’t look goofy or jumbled.
I included the Stella cover because it used Utopia black headline (the esperanto logo uses this) and i like that font!
Banners are ‘now’ in a big way. I could dig up maybe 20 recent examples of them in use but im at a cafe and the internet is treacherously slow. Just take my word for it.
For the design of Esperanto V.4 (the 90’s edition) I was all set to design it like David Carson took to Raygun in the early 90’s. I did my homework, read the books, worked out what fonts he used, how he treated type-but when I actually got down to doing it myself, I couldn’t. It’s like if you’re good at backstroke suddenly forcing yourself to swim breastroke (that you hate, not that good at, and don’t think it looks particularly good). So I apologise. Esperanto 4 won’t be grunged up and have ridiculous letterspacing and a thousand different fonts on one page. Because that ‘postmodern’ graphic design (~’88-‘99) was basically a failure and i think a response to the pc getting introduced in the mid 90’s. Design went to far. It was all about the limits of legibility, and imho i dont think thats what (good) editorial design is about.
but There will be lots of banners, and more illustrations throughout. And just to make it a bit harder for myself i’m only using one colour (a soft red), and of course black, so the Cyan ink won’t be used in the print. A really vivid spot red will be used on the cover. that with a lot of different weights of h&fj’s knockout, the design is starting to look really constructivist. Think El Lissitsky, lightly referencing russian propaghanda posters.
