I’m a huge fan of Marilyn Minter and her paintings/photographs. They’re sexy, raw, juicy, bold, in your face, and amazing. She’s a powerhouse creatively and gives no fucks about how people try to classify her art or what’s right or wrong in the art community. In conjunction with her upcoming retrospective at the Contemporary Art Museum Houston, Vogue sat down with Minter and spoke about art, social media, and Photoshop. This part cracked me up.
How do you decide whether one of your pictures should be a photographic C-print or an enamel painting on metal?
I went to an art school [the University of Florida] that was invested in showing only the “truth,” which at the time was Abstract Expressionism. If you didn’t paint like de Kooning, they didn’t pay attention to you. I got a “C” in painting and an “A” in photography, so I thought, “I guess I’m a photographer.” I just didn’t know how to make anything without a subject. I became a photography major, but only ever worked in black-and-white. Color was verboten. With photography there was always something I wanted to change, to get rid of, so I started painting the photos. Now I decide to print a photo rather than paint a copy only if there’s nothing I can do to make it better.
But either way, you use a lot of Photoshop.
When Photoshop came around, I thought I’d died and went to heaven. When I hear artists say “Oh, the good old days” or “I’m old school,” I just want to puke. There’s no tool I won’t use.
Be sure to read the full interview here.
Like a lot of things these days, writing by hand is a “dying art form” that will soon cease to exist, just like books, newspapers, and records. I personally use a notebook everyday to keep track of all the things, which means I have a trusty pen that I take with me everywhere. Having the right writing instrument is pretty key, and these pens by ystudio have me drooling.
The Taiwan based shop has created a series of pens and mechanical pencils made from pure copper and brass. They’re definitely not cheap but you can imagine having these pens for years, if not your entire life. Plus the patina that’s built up with use is a beautiful demonstration of wabi sabi in action.
You can see their entire line-up by clicking here.
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I first remember seeing Glaser Stencil being used on the cover of Phaidon’s Design Classics series – the chunkiest, quirkiest set of numerals you’ve ever seen. Now HypeForType has released the font in a set of lighter weights that will surely be much more versatile.
Glaser Stencil was designed by the world renowned American illustrator and graphic designer, Milton Glaser. Originally it featured on a Camegie Hall poster by Glaser in 1967. The bold weight was digitalised by many, however the forgotten lighter weights have never been digitalised until now. In agreement with Milton Glaser himself, Glaser Stencil has been officially brought back to life by Rick Banks at Face37, and is sold exclusively at HypeForType. Glaser Stencil is an all caps font available in four weights: Extra Light, Light, Medium, and Demi.
I’m guessing we’ll see these being used in a lot of restaurant branding. Snag it for yourself by clicking here.
Kimberly Harrington gets downright shady with this new piece in McSweeney’s titled, “Welcome to our design studio, where you’ll never see the light of day but you can bring your dog.” I’ve never personally worked in a design studio but this a great bit of satire which certainly hits on some (perceived) painful truths, especially for someone working as a social media manager.
Just a quick word on our creatives. You’ll notice that several of the designers have stacks and stacks of design books and publications on their desks, their Paul Rands, their Vignellis, and so on. This is great to capture. It makes the designers feel good because it allows them to think that one day they’ll also design an airline logo or redesign a subway wayfinding system or create timeless animated movie credits when in fact we all know that they’ll mostly be creating shitty animations in Keynote that only sales managers in the Midwest will see, and more importantly, not even give half a fuck about.
Join the School of Visual Arts from July 6—31st for the second year of a new summer residency program, “Typography as Language!”
Design a typeface and use it in a project of your choosing in any media—on screen or on paper. Each student will have 24-hour access to the Type as Language studio in New York’s Chelsea district and the opportunity to study closely with renowned type designers Tobias Frere-Jones, James Montalbano, and Daniel Rhatigan. A stellar roster of guest lecturers plus visits to Louise Fili’s world-famous design studio and a letterpress facility, round out the program. “Type as Language” is built around four interrelated one-week modules, covering technical, theoretical, historical, and practical studies. We welcome applications from students and working professionals across all design disciplines.
For more information and details on how to apply, visit sva.edu/residency/typography. @SVATypeLab facebook.com/TypeAsLanguage
Maximilian Heitsch is a Munich-based creative working in the fields of art, graphic design and cultural events. He focuses on the interaction of space, movement and simplicity. The effect is a body of work that reflects the ideas and practices of artists like Ellsworth Kelly and Frank Stella. I’m a fan of the tension that’s created between the intersections of the shapes, how the brain creates meaning in the abstract.