IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns
IdN v19n4: Shapes-in-Pattern – Shaping Their Own Patterns

Patterns are easy, right? Just come up with a nice little design, then copy-and-paste it ad infinitum. Well, nothing could be further from the truth. We decided to reduce the parameters even further – and asked seven creatives who utilise mainly shapes to achieve their desired effect, how the tight discipline involved both constrains and liberates them. It is a lot more complicated than you might think – but the results can be deeply satisfying.


Contents:

Motion Gallery: Collage
Shapes in Patterns: Shaping Their Own Patterns
Creative Country: Russia
Type Casting: Julius Hui
Idea: Why paper can still cut it
Studio: 3group / Aoki
Pick of the Month

Specifications:

104 pages
6 varying paper stocks
4C process + spot UV + vanish
90 minutes DVD Video included


The Shapes-in-Pattern Issue

Shaping their own path

Do you know what a drop repeat is? Or an allover, a foulard, a floral, or a conversational? They are all terms from the world of pattern design. There doesn't seem to be one for pattern design that is based on the use of shapes – but that is what this issue's main feature is all about.

Shapes are a fundamental constituent of almost any form of visual art. As featured artist Andy Gilmore puts it: "Pattern design is about harmony in all its elements – form, colour and composition". The ability to envisage the big picture, to see the wood for the trees, is a rare one. Merely reproducing over and over what looks good on a sheet of paper or a computer screen won't cut it: it is the overall effect that counts.

Featuring:

Sigrid Calon | Zeitguised | Metric72 | Gareth O'Brien | Sergey Sbss | Andy Gilmore | Nelio

IdN v19n4: Shapes in Patterns p13

IdN v19n4: Shapes in Patterns p13

IdN v19n4: Shapes in Patterns p14-15

IdN v19n4: Shapes in Patterns p14-15

IdN v19n4: Shapes in Patterns p20-21

IdN v19n4: Shapes in Patterns p20-21

IdN v19n4: Shapes in Patterns p22-23

IdN v19n4: Shapes in Patterns p22-23

IdN v19n4: Shapes in Patterns p28-29

IdN v19n4: Shapes in Patterns p28-29


Motion Gallery: Collage

Much more than just patchwork

Ever since Braque and Picasso experimented with this centuries-old technique at the start of the 20th century, it has played a leading role in modern visual communication, becoming especially prevalent in recent years in cinematography or motion art. New elements and new methods of mixing them together have made for some exciting new developments. In this DVD, we bring you 31 such radical departures from 25 talented motion directors – all of which will pin you back in your seat with a mixture of astonishment and admiration.

IdN v19n4: Shapes in Patterns p5

IdN v19n4: Shapes in Patterns p5

IdN v19n4: Shapes in Patterns p8-9

IdN v19n4: Shapes in Patterns p8-9

IdN v19n4: Shapes in Patterns p10-11

IdN v19n4: Shapes in Patterns p10-11


Creative Country: Russia

Living up to its revolutionary heritage

Russia, prior to and during the early days of the revolution, made a huge contribution to the world's artistic patrimony – in literature, dance, music and art. Now that the straitjacket of Stalinist orthodoxy and Socialist Realism has been removed, what remains of that glorious past? Are today's Russians as innately talented as their celebrated forebears? And what is the world of design like for its 21st-century disciples? What are their hopes and fears, the challenges they face, the obstacles they have to overcome? We asked half a dozen talented new Russian creatives to tell us the "pravda" (truth) about the contemporary design scene in their native land.

Featuring:

Alex Frolov | Irina Batkova | Zutto | Andrey Belikov | Eibatova Karina aka Eika | Protey Temen

Edited by:

Arseny Vesnin | designcollector.net

IdN v19n4: Shapes in Patterns p37

IdN v19n4: Shapes in Patterns p37

IdN v19n4: Shapes in Patterns p38-39

IdN v19n4: Shapes in Patterns p38-39

IdN v19n4: Shapes in Patterns p44-45

IdN v19n4: Shapes in Patterns p44-45

IdN v19n4: Shapes in Patterns p48-49

IdN v19n4: Shapes in Patterns p48-49


Type Casting

Design with a difference: Chinese versus Roman fonts

Fonts have always been a key factor in contemporary graphic design, but inventing new type-faces on the foundations of the original Chinese font families, with their huge variety of potential combinations and complications, is a challenge that those who have only dealt with the Roman alphabet can scarcely comprehend. Hong Kong-based graphic designer Julius Hui is a seasoned practitioner of both forms – and here he shares with us the fundamental differences between the two and gives us the benefit of his vast experience.

Featuring:

Julius Hui

IdN v19n4: Shapes in Patterns p56-57

IdN v19n4: Shapes in Patterns p56-57

IdN v19n4: Shapes in Patterns p60

IdN v19n4: Shapes in Patterns p60


Idea

Why paper can still cut it

Paper is often used for commercial and promotional design purposes, in window displays for upmarket department stores, for instance, or as the background to some blockbusting TV advertisements. The fusion between state-of-the art visual technologies and old-school hand-made paper creations has proved to be a perfect marriage. We talk to some specialists in the field, idealists who are keeping an old tradition alive, and ask them why, as well as how, they do it.

Featuring:

Noelia Lozano | Hattie Newman | Pattern Matters | The Makerie Studio | Sarah Bridgland | Yulia Brodskaya

IdN v19n4: Shapes in Patterns p61

IdN v19n4: Shapes in Patterns p61

IdN v19n4: Shapes in Patterns p70-71

IdN v19n4: Shapes in Patterns p70-71


Studio

Polish and Swedish set-ups in the spotlight

A trail-blazing graphic studio from Poland, 3group, and a cool outfit from Sweden, Aoki, which specialises in clients from the worlds of culture and fashion, share a knack of coming up with distinctive brands and identities. Different approaches, but a like-minded attention to detail and belief in the power of the imaginative process and creative freedom.

Featuring:

3group | Aoki

IdN v19n4: Shapes in Patterns p73

IdN v19n4: Shapes in Patterns p73

IdN v19n4: Shapes in Patterns p74-75

IdN v19n4: Shapes in Patterns p74-75


Regulars: POTM

Pick of the Month

IdN v19n4: Shapes in Patterns p84-85

IdN v19n4: Shapes in Patterns p84-85

IdN v19n4: Shapes in Patterns p86-87

IdN v19n4: Shapes in Patterns p86-87

IdN v19n4: Shapes in Patterns p98-99

IdN v19n4: Shapes in Patterns p98-99

Bardo – Bren Imboden, Luis Viale – Melbourne, Australia

Bardo – Bren Imboden, Luis Viale – Melbourne, Australia

“We believe that if there is a good concept behind the pack, we don’t need anything else. The communication has to be clear, simple and honest to the consumer.”

Ting-An Ho – Taipei, Taiwan

Ting-An Ho – Taipei, Taiwan

"Good design is one that benefits all mankind, whether its influence is large or small. Those who have exiled themselves to big foreign cities such as New York, Paris and Tokyo, and have won lots of awards, will never be an example for me, because I think there is still a lot for me to do here and a long way to go."

Shannnam – Hong Kong

Shannnam – Hong Kong

The collection is described as "a glimmer, a touch, a place, a continuity, a dream, captured within suspended streams of consciousness".

Tofu Design Studio – Michelle Au – Singapore

Tofu Design Studio – Michelle Au – Singapore

"Form, function, emotion. When the first two work seamlessly together to deliver a ‘reveal’ experience that’s topped off with a satisfaction that its content is well justified."

Marios Karystios – Gino's Garden Olive Oil – Lebanon

Marios Karystios – Gino's Garden Olive Oil – Lebanon

Gino’s garden organic olive oil, from Lebanon recently released a limited-quantity, olive shaped bottle for its finest quality line from the grove of Gino Haddad. Two different types of uneven olive shaped bottles were drawn, using mathematical techniques to calculate the irregular shape and volume. The ceramic bottles were brought to life by the skilful hands of Stelios Laskaris, in black gloss and green matte glaze finishes. Photography by Roger Moukarzel. The making of by Marios Karystios.

As Types Grow Older – Re-issuring 'Sadness' and 'Grimoire' – Cologne, Germany

As Types Grow Older – Re-issuring 'Sadness' and 'Grimoire' – Cologne, Germany

Felix Braden’s very first typefaces 'Sadness' and 'Grimoire' have just been published in new and revised versions at Myfonts. After the tragic end of the established Fountain Type Foundry he had to ask himself the following question: Is there still any justification for the existence of his 20 year old fonts? 'Sadness' was based on experiments during his stay at the Trier College of Design, 'Grimoire' on the other hand combines two seemingly contradicting principles – calligraphic and constructive ideas – and makes them work together. The font is based on a modular system but simulates a handwritten typeface. Both fonts are available for €5 at Myfonts with a introductory discount of 80% until 19 MAY.

Lily Kao – Toronto, Canada

Lily Kao – Toronto, Canada

“A good packaging design brings out the personality of the product and tells a story about the brand.”

Graphic Design in Paris – Conference by Slanted + HFG Karlsruhe – Karlsruhe, Germany

Graphic Design in Paris – Conference by Slanted + HFG Karlsruhe – Karlsruhe, Germany

In sync with the release of Slanted #25: Paris, The University of Arts and Design Karlsruhe teams up with Slanted to host a 1-day conference about Graphic Design in Paris featuring: HELMO (Montreuil-sous-bois), Olivier Lebrun (Paris), Émilie Rigaud (Paris), Laurent Ungerer (Paris) and Frédéric Teschner Studio (Paris).

Graphic identity for Latin American Design Festival by IS Creative Studio – Lima/Madrid

Graphic identity for Latin American Design Festival by IS Creative Studio – Lima/Madrid

LAD is an organization created with the aim of promoting Latin American Design worldwide highlighting the social potential of design using lectures, workshops, exhibitions and complementary activities. The design/branding of the LAD Festival is inspired on the international ISO A series paper standard known by all graphic designers. It represents the different countries, different cultures, connections between them and also gives the feeling of a geometric map.

ACST Design – Taipei, Taiwan

ACST Design – Taipei, Taiwan

"For me, a good design is one that is as long-lasting as possible. The most rewarding experience for me as a design professional was a short film I made about my design called The Daily You, which made some of the audiences that saw it cry."