Webydo: Pixel Perfect Responsive Websites. Code-Free (Sponsored)

Webydo

Webydo is a code-free web design canvas, made for designers. Moreover, it‘s a professional website design platform that empowers graphic and web designers to create and manage pixel-perfect responsive websites for their clients, without writing code.

The new Pixel Perfect Responsive Editor allows designers to take complete control over their responsive websites and customize your sites’ design elements, layouts, content, navigation and functionality.

In addition, Webydo can streamline your entire web design business by providing you with advanced management solutions, like a built-in CMS, the ability to bill clients from the dashboard, a full white label solution, advanced cloud-hosting to host your projects and many more convenient features for both your business and your clients’.

Sign up at Webydo.com!

HypeForType releases Glaser Stencil in a range of lighter weights

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.

HypeForType releases Glaser Stencil

“Just focus on the cupcakes.” A satirical look at design studios and social media

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.

Ouch.

“Type as Language,” a Summer Residency at SVA (Sponsored)

"Type as Language," a Summer Residency at SVA (Sponsored)

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 graphically explores shape and space

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.

Maximilian Heitsch

Maximilian Heitsch

Vaulted Willow, a colorful pavilion that looks like it could walk

Vaulted Willow, a colorful pavilion that looks like it could walk

When I think of the word “pavilion” I imagine standard 2×4 pieces of lumber slated together to make the most mundane of barbecue shelters. Architect Marc Fornes and his firm THEVERYMAN has succeeding in creating the opposite, a brightly colored shelter made from aluminum shingles that together create an amorphous blog that looks like it’s ready to slither across the land, titling it the Vaulted Willow. These are the objects I’d love to see popping up in more places, a thoughtful piece of architecture that tries to incorporate organic and natural forms.

Transcendental photography from Sydney Sie

Sydney Sie

Taipei based photographer Sydney Sie sees the world very differently from you or I. She describes her own work succinctly, stating, “I want my works to be bright but eerie, and include aspects of graphic that particularly interest my such as colour. I like to capture surreal moments, but those moments or atmospheres I created through different analogue and, or digital approaches.”

Look through more of Sydney’s work on her portfolio site.

The Kawara Chair finds a new use for discarded Japanese roof tiles

The Kawara Chair finds a new use for Japanese roof tiles

The Kawara Chair finds a new use for Japanese roof tiles

Designer Tsuyoshi Kawara has found a creative re-use for discarded Japanese roof tiles, utilizing them as the seat of his Kawara Chair. Using a wooden frame as the base Kawara has found a way to highlight the beauty and individuality of the tiles as they come in a multitude of glazes. And though a seat made of tile may seem precarious, Japanese roof tiles are fired at 1200 degrees celsius, much higher than the 800 degree temperature of European tiles, meaning that they can hold the weight of a person up to 250 lbs.

I love that the design is centered around a discarded object that already has an inherent beauty. Kawara smartly developed a solution for an object that was being discarded simply because it wasn’t perfect enough.

You can learn more about the Kawara Chair by visiting Domus.