“Cat”, “Duck”, “Dog”, “Fox”. Egypt-based graphic designer Mahmoud Tammam creates simple modifications of Arabic words, transforming the language into visual representations of their meaning.
Two anonymous art students, who go by the moniker dangerdust , have been creating gorgeous hand-lettered and illustrated chalkboards featuring inspiring quotes from literary and public figures.
We continue to be enthralled by the work of Chloe Giordano (previously here and here ) who produces everything from tiny coin-sized depictions of woodland creatures to entire book covers typography and all.
After a first part of their series Way to Say , Art director Alessandro Stenco and Gabriele Caeti come back with the series More Way to Says : posters that illustrate and translate literally typical Italian expressions.
A few years ago, we introduced you our crush for the artworks of the Indian artist Sabeena Karnik , which is composed of dozens of multicolored paper cuts that she assembles and rolls in order to give life to stylized letters.
This interesting blend of paint and typography by Warsaw-based designer Pawel Nolbert was created by photographing actual paint splatters and merging them with digital illustration techniques.
Italian designer Marco Schembri has reimagined famous brand logos as if they were affected by their own products. As an example, M of Mcdonald’s is getting bold, typography of Absolut is turned into fuzzy word, and Gillette is cut into pieces.
Residents of a neighborhood in Baltimore now have the most obvious place to wait for a bus ever designed. The ingenious stop is comprised of three 14′ typographic sculptures that literally spell out the word “BUS” while functioning as benches and a novel leisure space.
As part of a personal project exploring typography, artist Lola Dupre ( previously ) imagined a series of unusual structures shaped like letters of the alphabet.
The domain Convento da Gloria called on the creative communication agency M&A Creative Agency to highlight its products. Inspired by the luxury of baroque, typography and patterns designed bring us back centuries ago and let us imagine all the richness of the local know-how.
On July 2, 1978 the New York Times made a significant technological leap when they scuttled the last of 60 manually-operated linotype machines to usher in the era of digital and photographic typesetting.
Colors and typography of this visual identity are very pop but the global eccentricity is very balanced and elegant! Season of Victory wanted to create a unique design for each piece but at the same time, it had to be globally harmonious, as pleasant to see than a collection of books.