Set designer extraordinaire Es Devlin has called on the design community to tackle the most pressing concern of our age: the climate crisis.
Filled with biomorphic gestures, fleshy characters and curves so round that you could pop them with a needle, Aks Misyuta’s paintings are a treat for the eye. But who are these seductive characters and who is she basing them off? “Nobody and anyone,” she says, “my characters lack personal features.” Instead, she describes them as “grotesque and cartoonish,” a somewhat morphed depiction of the people and moments around her.
If you’ve ever wondered what it’d be like to gawp at the Mona Lisa without the experience being mediated by all that bulletproof glass that the safety-conscious curators at the Louvre insist is a necessity, then congratulations – you need no longer worry that your dream will remain just that.
Lee Kan Kyo is turning Japan’s art scene on its head with his mind-boggling felt tip pen artworks. Born and raised in Taipei, Lee first ventured to Tokyo 12 years ago to studio graphic design, and has stayed there ever since. In these years, the main change in Lee’s work is that he is no longer a graphic designer but an artist. Known for his intricately detailed drawings of commercial flyers, his work continues to “rethink the role and the perspective of the graphic designer” and as a result, his artist practices considers both typography and visual language at the core of his work.
“My primary role is to answer communication problems” says Alex Dujet, co-founder of Futur Neue. The independent Geneva-based design studio is known for its sleek editorial graphic design as well as its experimental type design, research and interactive work for a variety of clients. Additionally co-founded by Constance Delamadeleine and Sébastien Mathys, the studio prides itself on its multi-disciplinary output for a number of cultural institutions and businesses alike.
We love Faye Moorhouse’s illustrations – we love the weird humour of them, we love their naivety, and we love the craft that goes into their making, which employs an extensive range of materials, including gouache, acrylic, pencil, ink, ceramic, collage and digital software. In her words: “My style is very immediate and messy. And hopefully funny – and a bit dark!”
Kirsten Algera, editor-in-chief of MacGuffin magazine, joined us at May’s Nicer Tuesdays to talk us through the biannual design and crafts magazine’s seventh issue: The Trousers. “MacGuffin is a design magazine that is not about design,” Kirsten announced. Rather, the publication was born out of “a desire to combine in-depth research and visual appeal”. Inspired by the MacGuffin technique, a term popularised by Alfred Hitchcock, which assigns significance to an object according to its effect on the characters and their actions, MacGuffin magazine is likewise a platform that is less about objects and more about the stories they tell.
Despite admitting that he was “slightly queasy” about being stood in front of the Nicer Tuesdays audience last month, Johnny Kelly went on to give a blinder of a talk, detailing the process behind his recent series of ads for Cheerios.
Working out of Passau, a small town in south Germany nestled between Munich and Vienna, illustrator Jan Robert Dünnweller has been working away on thoughtful, flowing illustrations since 2013.