Giovedì Poster – word 13 Sardine – Francesco D'Urso
Giovedì Poster – word 13 Sardine – Egidio Filippetti
Giovedì Poster – word 13 Sardine – Dario Quatrini
Giovedì Poster – word 13 Sardine – Daniele Togninelli
Giovedì Poster – word 13 Sardine – Daniele Simonelli
Giovedì Poster – word 13 Sardine – Angelo Musto
Giovedì Poster – word 13 Sardine – Andrea Saulino
Giovedì Poster – word 13 Sardine – Andreu Serra
Giovedì Poster – word 13 Sardine – Andrea Di Giacomo
Giovedì Poster – word 13 Sardine – Andrea Dell’Anna
Giovedì Poster – word 13 Sardine – Alessandro Muratti
Giovedì Poster – word 13 Sardine – Emanuele Capponi
I found this interesting project started by a group of Italian graphic designers in 2013 called Giovedì Poster. Each week they gathered and while listening music, chose a word on a random basis like for example ‘medal’, ‘roses’, ‘?????’, ‘storm’, ‘basket’ and so on, and this became the week theme. The project was opened for all designers and everybody could submit his idea but sadly it seems that they no longer maintain it. Nevertheless, visit the site to explore their visions and enjoy their works.
Paris-based illustrator Vincent Mahé was tasked by the French weekly Télérama to create a short illustrated story of the life of the great architect Le Corbusier as a part of the celebrations of the 50th anniversary of his death, and he has done a remarkable work. In four double pages spread, he has succeeded to capture the prolific career of one of the pioneers of the modern architecture spanning six decades (from his first professional start in 1904 until his death in 1965).
The artist obviously is fascinated by the architecture and it shows from his next work called ‘750 years in Paris’, which was just published in a book. As he describes this project, it is “a literary graphic novel unlike anything else on the racks, 750 Years tells the story of our time, focusing on one single building in France as it sees its way through the upheavals of history. Beginning in the 13th century and making its way towards today… Generations have lived here before us, they’ve walked on this very same pavement, they’ve been under that same sky… If you could stand still for 750 years, what could you learn about the world?” The book is currently available to purchase through Nobrow Press
I have just found the works of the Italian architect and graphic designer Federico Babina and only regret it did not happen earlier. He shows us that the architecture is not only about buildings but can speak a lot of other different languages – archi+zoo, archi+shape, archi+music, archi+machine (countries), archi+portrait, archi+faces, archi+bet (alphabet) to name a few. Fantastic blend of art, architecture, illustration, imagination and profound knowledge of the depicted concept.
What he says about the last one ‘archi+directors’ (movie)? ‘Directors are like the architects of cinema.They are those that build stories that like buildings envelop the viewer and carry it in a different world. each with their own style, language and aesthetics, think, plan design and build places and stories that host us for the duration of the movie.’
Clarence Coles Phillips – and the creation of the “fade-away” style
Clarence Coles Phillips (1880-1928) was an American artist and illustrator who first featured the “fade-away girl” design – a figure whose clothing disappeared into the background. He was asked to create something unusual and grabbing the attention for the first colour cover of Life magazine. It was published in February 1908 with the Phillips’s illustration of a young girl in a polka-dot dress, feeding corn to a flock of chickens and immediately impressed. Only the face, the arms and the feet of the lady are painted, whereas the rest of her figure and clothing merging seamlessly with the background suggested their outlines only by the arrangement of the polka-dots. Regarding the chickens, again only their heads, necks and feet are visible, leaving to the viewer’s imagination the drawing of the ‘invisible’ feathers. It was such a success that Phillips developed this style in 54 subsequent covers for Life over the next four years. Due to its popularity of his idea of blending the main figure’s dress with the background color, other magazines started to ‘copy’ it by asking their artists to mimic the Phillips style for their issues. Phillips was one of the first illustrators who succeeded to get his name to appear with all his images.