What’s a graphic designer to do when he loves both typography and dogs? Find a way to marry the two, of course. That’s precisely what Romanian designer Andrei Clompos has done with his Dog Alphabet, a self-initiated project in which he’s juxtaposed dog breeds with their related letterforms. Some illustrations are cleverer than others—the Weimaraner is a wow—but all offer an excuse for dog lovers to wallow in the unmitigated cuteness of pooch expressions. And there’s some useful information to be gleaned from Clompos’ project, too—like how to pronounce Xoloitzcuintle, better known as the Mexican Hairless Dog.
That a disease defined by physical disfigurement and a complex range of emotions should come to be symbolized by a small, pretty pink ribbon is, one imagines, an irony not lost on the millions of women (and men) worldwide felled by the graphic ravages of breast cancer. But symbols are nothing if not oversimplifications, and the Pink Ribbon has done its valiant part, for better or worse, in transitioning the issue of breast cancer from a once-shunned topic to a fashion statement blithely adopted by little girls decades away from their first mammography sessions.
October being Breast Cancer Awareness Month may be a nearly moot fact—given that pink ribbons seem to be all but ubiquitous, no matter the month—but it’s worth noting that the power of a simple, eloquent visual mark can’t be overstated. AIDS activists, desperate to combat the willful disregard for a modern plague, knew this back in 1991, when the Visual AIDS Artists’ Caucus looped a small strip of red silk ribbon into a random form, affixed it to lapels with a safety pin—and dragged a deadly scourge out from under the darkness of shame onto the glittering stages of Hollywood awards shows. While the Red Ribbon has mostly receded from view (thanks, in part, to the empathetic action it spawned), the Pink Ribbon’s endurance speaks to the considerably longer road to redemption that lies ahead for cancer sufferers.
For the past decade, the Swedish Cancer Society has promoted its own brand of breast cancer awareness by commissioning a range of prominent Swedish creatives to personalize the Pink Ribbon. This year, the designers behind the Swedish firm, Claesson Koivisto Rune—best known for their elegant architectural projects and product designs—have given the Pink Ribbon a charming twist by decorating its length with a string of 20 stylized ‘breasts,’ a number commensurate with daily breast cancer diagnoses in Sweden. The designers call the pattern, “A simple geometry that is understood by all people regardless of language or culture.” As all universal truths should be.
Via Azure Magazine
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.
The British illustrator Charlotte Day has the unfair advantage of being a trained horticulturalist and a gifted draughtsperson—both of which serve her most conveniently when a spot of ‘botanical beautification’ is called for. Her alphabet suite of Edible Flowers features elegant typography emblazoned with exquisitely detailed images of edible flowers, each composition rendered expertly in gouache. Aside from their intrinsic prettiness, this A-Z collection offers some practical information for gardening novices: in a pinch, those violets, day lilies, and clusters of yarrow make for some good munching.
Ah, there’s something about a beautifully illustrated logo–which this self-initiated mark from the Manchester (UK)-based design agency United Creatives most certainly is.
Harper’s Bazaar magazine has issued 3 delicious limited-edition covers for their April issue, all featuring colorful patterns from fashion house Emilio Pucci. A project spawned by a partnership with the Victoria & Albert Museum, and in honor of the V&A’s current exhibition, The Glamour of Italian Fashion, the covers showcase previously unpublished original drawings from Pucci’s ’60s and ’70s archives–and are only available for sale at the V&A museum shop.
The Finnish design house Marimekko can always be counted on to lift winter-weary spirits with its range of eternally upbeat textile motifs. Here, some of the company’s spring 2014 prints, including (above) a 50th anniversary edition of its famous Unikko poppy, magnified in size this time–as all indelible images deserve to be.
A nice big Noma Bar illustration in today’s New York Times.