We’ve still got a few months left of 2009 but we’re already looking forward to 2010 with the publication of our new Typographic Calendar, available now. Designed by Kit Hinrichs, the calendar features a different typeface each month in the classic wall or desk calendar format. Each month includes a brief description about what makes the featured font distinctive and a biography of the type designer. All major holidays for the US and UK are noted, along with the birthdays of the type designers. The 2010 edition uses typefaces available from Veer.
The calendar is available in two sizes, a supersize 33-by-23 inch version suitable for wall hanging and a smaller 18-by-12 inch version appropriate for desk or wall use. The price of the supersize calendar is $44 and the smaller desk/wall calendar is $26. (Prices do not include shipping.) Both versions are available at museum shops across the US and online from kenknight.com.
Kit will continue to produce the calendar from his new venture, Studio Hinrichs.
Update: Kit talks to @Issue about designing the calendar.
Abbott Miller has designed the installation and graphics for Dress Codes: The Third ICP Triennial of Photography and Video, opening today at the Museum of the International Center of Photography in New York. The triennial is the only major US survey devoted to contemporary photography and video. Dress Codes closes out a year of fashion focused programming at the museum and explores ideas of identity, production and consumption through the lens of fashion, style and image, from uniforms to haute couture, to dress as a celebration of personal identity or as a religious or political statement. The exhibition features the work of 34 artists including Stan Douglas, Barbara Kruger, Martha Rosler, Cindy Sherman, Lorna Simpson, Zhou Tao and Thorsten Brinkmann. Miller worked on the show with ICP curators Kristen Lubben, Christopher Phillips, Carol Squiers and ICP adjunct curator Vince Aletti. Dress Codes is on view through January 17, 2010. More about the exhibition’s design coming soon.
Following James Biber’s “Weeds”-inspired dining room, currently on view in New York, we continue our foray into “green” design with what may be the first “Hydroponic Growers Lifestyle” magazine ever published. Julie Savasky and DJ Stout in the Austin office have designed Rosebud, a new magazine from Advanced Nutrients that debuts with its October issue. Based in Vancouver, Advanced Nutrients manufactures and distributes over fifty super-fertilizers and growth enhancement products with evocative names like Big Bud, B-52, Wet Betty, Voodoo Juice, Tarantula, and Bud Candy for hydroponic gardeners and enthusiasts the world over.
Paula Scher has designed a new identity for the Bard Graduate Center: Decorative Arts, Design History and Material Culture. Founded in 1993 by Susan Weber, BGC’s director, the school is an important academic institution devoted to the study of the history of the material world, the objects that people make to transform their surroundings: architecture, craft and design. It is one of the only programs of its kind in the country and a top school for scholars and curators of the decorative arts. The center is affiliated with Bard College and is located in a pair of townhouses on Manhattan’s Upper West Side.
Scher designed BGC’s first logo when the center opened in 1993. The original logo was a monogram of three letters set in Baskerville with a decorated “G” and was applied to letterhead and the covers of brochures without any established format or system. It was pretty, and it communicated that the school was devoted to the decorative arts. But in the years since, BGC has grown in size and stature, and the logo began to seem precious and no longer conveyed the breadth of the center’s programs. The launch of the new identity is timed to a major renovation and expansion of the school by Polshek Partnership Architects. The center has also officially changed its name to the Bard Graduate Center: Decorative Arts, Design History, Material Culture, lengthening it slightly from the already long Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture. The school needed a new institutional identity that communicated its importance. A simple, static logotype was no longer enough for the institution; its identity must function as a flexible system that supports broad applications across multiple platforms.
The London Design Festival opened this past weekend, kicking off a week of over 163 exhibitions and 42 one-day events showcasing the city’s best in architecture, art, craft and product, graphic and digital design. For the third year running Domenic Lippa and his team have worked with the LDF to produce everything from t-shirts, bags, invitations, posters and postcards, through to the guide, signage and displays. This year’s theme of “Be Bold, Make a Statement” reflects the Festival’s stance that good design, even in difficult times, will always stand out. This year’s identity uses quotes from famous designers, including Pentagram co-founder Alan Fletcher.
This year the festival has worked closely with the V&A, which has become the hub venue and home to numerous installations, exhibitions and talks. These include a poster exhibition curated by Lippa that features work by 20 London designers, including our own Angus Hyland, and a talk by talk by New York partner Abbott Miller on the 24th.
As part of this growing annual event the team also worked on support material for the London Design Medal, as well as creating a new logo for the London Design Embassy. A look at some of the materials from this year’s program after the jump.
Angus Hyland continues his role as Art Director for Laurence King Publishing with the new Autumn 2009 catalogue, out now. Hyland has been the company’s consultant Art Director since 2005 and oversees all design for the Laurence King books. Among the books showcased in the new catalogue is Bibliographic: 100 Classic Graphic Design Books, an extensive look at the best design publications of the last 100 years, including many books designed by Pentagram. (More on this soon.) Also listed in the catalogue is Adrian Shaughnessy’s Graphic Design: A User’s Manual, which features a foreword by Michael Bierut.
The wall-mounted war memorial designed by Harry Pearce for the London Science Museum is a reverential and sober tribute to those employees of the museum that fell in the First and Second World Wars. The plaque is made from a single piece of cast iron layered with typographic interventions that are powerful in their simplicity. Each layer represents a world war with ‘19’ serving as a link between the two sets of dates ‘14-18’ and ‘39-45’. A single cross is cut through both layers.
Additional views of the memorial after the jump.
“Weeds” is all about the sacred and the profane. Or maybe the sacred and the mundane.
In the Showtime series a California housewife played by Mary-Louise Parker turns to selling marijuana after the death of her husband. The darkly comic mix of suburbia, naïveté and family dynamics is portrayed against a background of drugs, death, deceit and personal demons. The amount of killing, death, pain and humiliation surpasses even recent mob-themed shows; and this is a comedy!
This year’s Metropolitan Home Showtime House consists of twin penthouses at the luxury Tribeca Summit loft condominiums. James Biber and his team at Pentagram Architects were one of 14 designer teams invited to create rooms inspired by the network’s original programming.
Biber and his team, working on their first showhouse design, referenced a comic climax from “Weeds” for their design of the dining room. For those not up on the show’s past seasons, the scene was an eye-rolling reveal of a stolen rooftop lighted cross lifted from a new local religion-based community’s church. The enormous crucifix finally appears, lashed to the ceiling of a hastily assembled “grow house.” The stolen cross has become a lighting fixture over a bed of marijuana plants!
This week our longtime client Saks Fifth Avenue reopened its designer collections on a newly renovated third floor. In the works for two years, the 50,000 square foot space is home to 49 collections, including 23 designer shops for brands like Dolce & Gabbana, Chanel, Gucci and Louis Vuitton, as well as a section for emerging designers. The floor has been outfitted with custom furnishings and fixtures by artists and designers including Zaha Hadid and Michele Oka Doner. (Take a video tour with Nina Garcia of Marie Claire and “Project Runway.”)
As part of the reinstallation Pentagram created a brand identity for the floor. The 49 names were rendered in Cyrus Highsmith’s Novia and combined to form a number 3. The Saks staff has adapted the font and identity for installations throughout the store.
Some sample applications of the new identity appear after the jump.
Kit Hinrichs and Belle How in San Francisco have redesigned Discoveries, a semi-annual publication of Cedars-Sinai Medical Center, the largest non-profit academic hospital in the United States. Pentagram’s challenge was to invigorate and redefine the magazine’s graphic and editorial viewpoint to better articulate the major research initiatives of the institution and simultaneously make it more compelling, flexible and distinctive to its audience.