The London Design Festival has come around again, and partial proof lies in the suite of limited edition screen prints being offered by Ground Floor Space, a gallery curated by the UK design agency dn&co. Entitled Co-ordinates, the exhibition brings together the effort of 25 notable London-based design studios, each of which has put forth an exceedingly simplified graphic ‘map’ denoting specific street coordinates. Fittingly, proceeds from sales of the geometric, monochromatic print series will benefit Streets of London, a charity which serves the city’s homeless population.
Even without animation, this cover illustration by Christoph Niemann (bringing to life Gertrude Stein’s “A rose is a rose is a rose.”) for the latest issue of The New Yorker would be pretty sweet—but then, add some movement, and…magic.
British graphic designer Claudia Pape oversees a small range of home goods and art pieces from her online site, Above and Beyond—most notable of which is a set of towels bearing beautiful illustrations of draped fabric (a nod, no doubt, to Christian Lacaroix’s Riviera pattern). Smartly, she’s made her Between the Lines motifs available as a handsome set of well-priced screen prints, too—ready for the taking at her shop.
Via Above & Beyond
For those traversing London in search of worthy, if lesser known, discoveries, British illustrator Tobias Hall has helpfully created a series of hand-illustrated posters pointing wanderers in the right direction. Created for Great Little Place, a site which seeks out hidden gems in the city’s vast landscape of pubs, restaurants, and galleries, Hall’s faux vintage posters are a handsome suite, each featuring a hefty, fittingly architectural drop cap, and showcasing his natural affinity for typography and finely detailed compositions—all skillfully and vividly rendered in pen and ink. Gems, indeed.
So much for print being dead. This recent two-page spread in Britain’s The Guardian newspaper featured a compelling ad by a green energy company. Noting the nil effect that a major power station fire had on households using wind power, two words managed to tell the whole story—proving that when it comes to the printed word, even nothing can be quite something.
Even accomplished furniture and product designers need to express themselves more informally. French designer Pierre Charpin, whose portfolio includes furniture for Ligne Roset and tableware for Alessi, finds expression in repetitive lines. His Loop drawings, originally executed in felt tip pens, have been converted to a suite of four digital prints, each now available for purchase in a limited edition of 50. “I attach great importance to this practice,” says Charpin of the act of drawing, “because it is the link to my visual arts background.” An awfully pretty link, I’d say.
“When I arrived in New York for the first time, it was pouring. Maybe that’s why, to my mind, there’s no place on earth where being stuck in traffic on a rainy day is more beautiful.” Clearly, there’s no end to the ways in which New York City can work its magic. German illustrator Christoph Niemann manages to make being stuck in traffic in New York City in the rain look like an exquisitely melancholy experience–thanks to a brilliant interactive cover for this week’s New Yorker that may succeed in making City dwellers long for a rainy day.