Toilet Paper is perhaps the most bizarre, shocking, and borderline-subversive publication I’ve ever picked up… And I love it. A bi-annual magazine, it’s the child of (super-talented) artist Maurizio Cattelan and photographer Pierpaolo Ferrari. I highly recommend any self-respecting creative to pick one up, as my words can hardly do their work justice. It’s simply an experience you have to hold in your hands and observe with your own eyes. But that doesn’t mean I’m not stubborn enough to try (heh).
Riding off the success of Les Ballets De Faile, Brooklyn-based duo FAILE are fast on track to world domination. Last week, Very Nearly Almost (VNA), a popular street art magazine, celebrated the release of their 23rd issue with a launch party in NYC’s Lower East Side establishment, Reed Space. The issue features extensive coverage of FAILE’s work. In commemoration, FAILE hand silk-screened a limited edition design onto a series of VNA covers. Continue reading
While on vacation in London last week, I spent some time at the Tate Modern museum marveling at their fantastic design shop. Out of all of the books, objects, and wares inhabiting their basement space, the kids department was the most inspiring. One of my favorite finds—even though it’s been around since 2006—was Anorak, a “happy mag” for kids. Founded by Cathy Olmedillas, who previously worked with seminal UK publications Sleazenation and The Face, the magazine is aimed at 6 to 12-year-olds, but it has plenty of poppy illustrations, games, cartoons, and stories to appeal to design-minded adults too.
I was wandering around the bookstore when I stumbled upon this ingenious cover for Garage magazine featuring Cindy Sherman… well, sort of. The magazines 4th issue uses the theme of vanity as it’s starting point, dressing up four models in masks bearing the visage of Cindy Sherman. The effect is totally surreal. It reminds me a bit of something Chris Cunningham would have done back in the late 90’s or early 00’s. It comically skews the idea of what true beauty is into something else entirely, something equally engaging but in a confusing way. I think Patrick Demarchelier, the photographer, nailed this shot perfectly.
You can read more about the issue and it’s editor Dascha Zhukova on WWD by clicking here.
I came across these somewhat shocking images in the summer issue of Port Magazine and I’ve been entranced by them ever since. They were shot, yes, they’re photos, by Giles Revell, a brilliant photographer who managed to capture images that looked more like fine art paintings. My guess would be that he carefully lit each set up and then used some sort of HDR processing to pull out some of the more subtle details. There’s also the color of each of these, which are all stunning. The murky combinations of greens and blood reds provide an intense contrast that only makes the work stand out even more.
Despite how gruesome these may look, I still find them quite beautiful.
Last week we saw the release of the stunning cover of the New York magazine shot by Iwan Bann, renowned for his ability to photograph architecture. The photo was of a half darkened New York, one side shining brightly as usual while the other seemed almost vanished. The question on everyone’s mind though was “How the hell did he get that shot?” Thankfully, Poynter got the scoop on how Baan got the shot.
“It was the only way to show that New York was two cities, almost,” Baan said on the phone Sunday evening from Haiti. “One was almost like a third world country where everything was becoming scarce. Everything was complicated. And then another was a completely vibrant, alive New York.”
Baan made the image Wednesday night after the storm, using the new Canon 1D X with the new 24-70mm lens on full open aperture. The camera was set at 25,000 ISO, with a 1/40th of a second shutter speed.
Always one to push the limits with their cover designs, Bloomberg Businessweek knocked it out of the park this week with their commentary on Hurricane Sandy. I don’t think it’s possible to make a bolder statement than this, and you know that amongst the rows and rows of magazines out there people will stop and pick this up. I applaude Bloomberg Businessweek for making such a bold cover that’s so bluntly honest. There’s a lot of mediocrity in magazines lately and this is the kind of strong opinion I think our culture needs.
Fonts In Use has a great rundown of the design of the cover, as well as a look at Jennifer Daniel’s awesome infographic which she literally made in the middle of Hurricane Sandy. More of this please!
We’ve been big fans of Carl Kleiner’s work for a couple of years now, and there’s no sign that he’s going to stop making amazing things any time soon. Take for example the cover he recently created for Creative Review’s Annual issue.
The annual ended up being the largest issue they’ve ever printed, containing all the winning work in this year’s Creative Review Annual and showcasing the finest work of the past 12 months as selected by their judges. For such a momentous issue Carl took the A from Annual and water cut the shape from a couple of pieces of 6cm thick marble. The cover reflects the idea of timelessness as only so few materials really can. It’s interesting how he chose to stack the pieces of marble to give the piece a sense of dimensionality when it could have come off as being rather flat. Fantastic and elegant.