I met Stephen in a rammed pub in Hampstead last weekend over the din of vuvuzelas heralding England’s exit from the World Cup. Still, you lose some, you win some. Stephen Layfield heads Sydney-based Layfield Design; a multi-disciplinary studio specialising in brand identity and design for print. Absolutely fantastic, clever and excruciatingly precise graphic design, just the way it should be.
Swedish design bureau Lundgren+Lindqvist have an eye for smart minimalism that manifests in great, exacting print and digital work.
The third and final piece in a series. Working with an original photo taken at St. Michael’s Mount, Cornwall by utterly talented director, and friend, Rob Chiu.
Vedas is an ongoing pursuit in the understanding of knowledge from a Copernican perspective by LA-based photographer Nicholas Alan Cope and art-director Dustin Edward Arnold. It isn’t often you come across a portfolio of work so vast whilst remaining profoundly important, you need to see this.
A current work-in-progress, and something that will evolve in presentation as I continue to work through his needs with him; this simple logotype for emerging photographer Drew Wheeler is designed to work in a variety of different configurations over his photos and on more traditional flat backgrounds.
I just want to quickly illustrate Mark Brunswicker’s work on The Vision Paper. Great use of type over imagery and really messing about with the grid creates a sophisticated layout where the editorial appears to float over the page. At once constrained, but delightfully capricious.
Leeds-based graphic designer Ben Jeffery has an incredible eye for layout and has recently worked with Rankin on his newest magazine project The Hunger. In all of his projects you’ll find a well considered, incredibly tight presentation that effortlessly communicates the editorial in as minimal and achingly sharp method as i think its possible to produce.
Riitta produces ghostly psuedo-sculptures by wrapping linens around, and arranging clothing in, trees and scrub. By presenting her work as photographs she can use the environment she’s working with as part of her piece, giving her sculptures an environment within which to live; suggesting the passing passage of time and a record of events that have already happened.
This beautiful photo was shot by James Cambourne at Saunton, between Exmoor and Dartmoor on the coast. The original has been beautifully graded down and is presented in very wide 2.35:1 format. Taking the original photo, and another from the same set to work into the Monolith’s reflection, i’ve kept faithful to James’ grade but have had to slightly increase the height to display the Monolith fully.
Graphic designer Neil Kellerhouse is responsible for some of the most arresting and important movie posters in recent years. Based in Los Angeles, Kellerhouse has spent the last year working with directors such as Fincher and Soderbergh.
I bought one of Feric’s red-crowned crane prints a couple of years ago; a whimsical and elegant take on using engineering drawing practice in a very original way. And since then Feric has been busy…
Modelling digitally with reference to real-world materials like plastics and wood, German studio DepotVisuals build informational installations and imagine constructs that are just slightly too perfect and too whimsical to exist in the real world. Amazing stuff. Take a look at their work.
For her birthday late last year i created this poster for Shon; it is the dialogue from my phone of the few text messages that went into arranging our first date, then the first month of our relationship afterward.