Nike’s latest collaboration with Liberty of London departs from the usual floral print and enters digital image territory. Entitled the Pixel Pack, the new collection introduces the Virtual Light Liberty print which was culled from screen projections. Inspired by the work of artist Tim Head, the enlarged pixels now adorn four Nike styles too.
Steeped in tradition and built by friendship, Hopewell is a new design workshop producing artisan-minded products. Founded by art director Eliza Kenan and fine artist Clair Oswalt, the company takes its name and ethos from the Hopewell Exchange System, a Native American cultural exchange that saw various materials transformed into handmade products that were then traded. Though Kenan and Oswalt have a wide range of handmade experience between them—from painting to woodworking—their first Hopewell offering is centered around quilts.
The new documentary Very Semi-Serious gives a rare glimpse behind-the-scenes of the New Yorker, specifically the cartoon department. An active part of the magazine since 1925, the cartoons have come to define the publication with their sardonic wit and wry take on humanity. Filmmaker Leah Wolchok tried to get the documentary project off the ground years ago only to receive a “no” from New Yorker cartoon editor Bob Mankoff. But in the last six years, she’s continued her plight taking on producing partner Davina Pardo in the process. They were finally granted access to the magazine’s cartoon department and archives, and editor Bob Mankoff, which is a rarity, and are currently in production to tell the story of legendary cartoonists in the past, present, and future.
It’s hard to give a painting by Sachiko Kanaizumi a quick glance. They’re the type of paintings that beg for long stares and cocked head contemplation as you behold the surreal and whimsical worlds she creates. Fairy girls inhabit a heap of discarded books while bats swarm little ladies bobbing in an unusual stream. Kanaizumi’s work is captivating and mysterious all at once, and so is she.
It was to be a “disco trip” to Hong Kong. The year was 1982, and 54-year-old pop artist and international art star Andy Warhol was visiting China for the first time. Invited over to Hong Kong by a young industrialist, he brought along a small entourage, including photographer Christopher Makos, who documented Warhol’s journey to Beijing, Tianamen Square, and the Great Wall. Though rarely seen—unless you have a copy of Makos’s book—the photos are currently exhibiting in Shanghai.
Katrin Rodegast is redefining the worlds of graphic design and illustration. The recent university graduate and former assistant to equally talented tactile artist Sarah Illenberger (she of the wooden hamburgers), has already won numerous design awards thanks to her clever usage of paper as an artistically transformative tool. With an impressive client list that boasts everyone from The New York Times and GQ magazine to Mercedes Benz and Herman Miller, Rodegast’s work stands out for its irreverent take on simple subject matter.
It’s interesting to note that in our current online-based climate—with magazines and newspapers ceding to the web—printed zines seem to be on the rise. As much an enduring act of creation as a symbol of revolt, the zine remains a tactile response to our ever-growing culture of content. Synonym is one such journal. And though it functions as a bi-annual design and culture magazine, it is born out of a desire to marry both the worlds of web and print under the boundaries of a given theme.
Upon seeing the word swine, one might conjure the image of a pig or boar. But such is not the case with Studio Swine, a London and São Paulo based design studio who use the word to spell out their company’s ethos: Super Wide Interdisciplinary New Exploration. A collaboration between Azusa Murakami and Alexander Groves, the company explores design through innovation to create everything from luxury pieces crafted from waste materials to small offices that maximize space—all built using recycled materials.