Ape on the Moon: Contemporary Visual Culture » Typography

James Burlinson’s Narrative Zelda Typography

Philip Dennis — Tue, 10 Apr 2012 03:16:04 +0000

We like the humour that James Burlinson, aka Burlisaurus injects into his illustrations. The loudness of the fun in his characters is matched by the strong colours he uses, which makes his work full of energy and always enjoyable. In some examples here, he takes inspiration from a couple of his favourite games, including an open-minded and slightly trippy Mario.

For his Zelda project, James compacted scenes and events from the game, along with some cool baddies, into narrative typography. The compositions of the letters are cleverly worked out, with movement of the different elements constructing the majority of the letter forms.

We think that the ‘Z’ made completely out of the reflection of light against Zelda’s shield was a particularly inspired moment. James describes the process in making his witty character work.

I’m an Illustrator and designer, leaning heavily towards a specialisation in character design but I predominantly just focus on making character-centric illustrations with hopefully a pinch of energy, a dash of humour and a glug of funk.

My illustration process usually starts with sketches in blue pencil, this way I can scan them in, blow them up and ink over them before removing the blue stuff in Photoshop. I ink with a brush pen to get a nice diversity of thickness and an element of spontaneity, which comes with the lack of complete control.

Finally, I scan in my inked lines and use Photoshop for my layout, painting, colouring and texturing needs, I like to scan my own textures in, usually found on strange paper stocks, as unique as possible. My design processes are cleaner, for logo and branding work especially, I generally begin with sketches, which I then scan into Illustrator where I work on the rest of the process to a polished conclusion.

Keetra Dean Dixon Bringing Positivity and Typography

Philip Dennis — Fri, 05 Aug 2011 11:45:39 +0000

Here’s some great typography from Keetra Dean Dixon in the form of an ongoing series of invitation cards. Her imaginatively decorative type illustrates life-affirming messages, spelling out a bit of positivity into the world. I especially like the reversable, “Do, then think, then do again”/”Think, then do, then think again” message.

The first card’s soft, overlaid vector design reminds me of something quite crystalline or bejewelled. I think it fits in well with the message, “Make luck”, possibly suggesting that the recipient creates their own pot of gold, rather than looking for it.

While aesthetically beautiful, I also like the concepts within the type. Again, here in ‘Make Luck’, using the negative space in and around the letters, too. Taking it further in the last image, ‘Twist the Cynical Loop’, she uses pattern in the centre of the C’s form to highlight the letter.

Intelligent, gorgeous, typographical design putting out positive vibes— you can’t go wrong!

Typographical Designer Danny Pelavin Interview

Philip Dennis — Mon, 04 Jul 2011 21:56:45 +0000

With him having over 30 years of experience in the industry, it was great to have a chat with Danny Pelavin about his work. Along with an in-depth portfolio as a typographical designer, he has a range of experience working in publishing and advertising as both an illustrator and designer. I was interested to see how his approached differed or remained constant when working to briefs within these different areas.

Have you always been particularly interested in typography or is it a part of your work that developed over time?

My interest in letterforms has always gone hand-in-hand with my involvement in art and may even have preceeded my committment to illustration.

Are there any elements of your work that you think best characterise your style?

Characterizing an artist’s “style” is best left to independent observers, however, in all my work, I try to achieve a clarity of intent rather than vague or imprecise nature.

What’s your favourite kind of commission to receive?

I love any kind of assignment where the client has enough confidence in themselves to trust me to do my best work.

What are the similarities and differences to how you approach your illustration and typographic work?

While both are preceeded by the development of a concept independent of formal requirements, a significant difference in typographic design is that it is never independent of the text. In other terms, the words to be rendered determine, to la large part, how the finished work will look.

Having already had a successful career for as long as you have, what changes in the industry have affected you along the way?

“Successful career” sounds a little overstated. My ‘career’ ends every time I am without an assignment and begins again with each new one. The type of work I get, whether it is design, illustration, typography, icons etc. varies with trends in publishing. The emergence of the computer as a tool has been to my benefit since I always worked with technical instruments that are analogous to the features that computer software offers. The ongoing backlash against digital technology in art has left me out of the mainstream of current ‘illustration’, but I’m having way too much fun to be concerned.

How do you see what you do changing over the next 10 years?

In order to maintain my interest and inspiration, I’m, hopefully, moving beyond the things I already “can” do towards those I’ve only wished I could. I’m hoping that will lead me into producing art that people wear, use and benefit from in more ways than by simply looking at it.

Leather-Bound Book Cover Design by Jessica Hische

Philip Dennis — Tue, 14 Jun 2011 13:39:41 +0000

It doesn’t get better than a beautifully designed, leather-bound, foil-stamped book! Jessica Hische created this set of books covers for what must have been any designer/book-lover’s dream commission.

The project was for Barnes and Noble and, working with art director Jo Obarowski, produced a range of new covers for a set of classic literature. Each book was complete with marbled end papers and matching details, such as ribbons, headbands, and coloured page edges.

Jessica has done a lot of work for books as a typographer and designer. You can see her typographical design and illustration in advertising and editorial work, too.

Côme de Bouchony’s Typography

Philip Dennis — Sat, 15 Jan 2011 18:02:31 +0000

This typography by Côme de Bouchony is punchy and eye-catching but it’s the process behind the letters that I really like. Wobbly words and warped forms are created in repetitive patterns, some looking almost like a kind of computer generated scan.

Apart from more typography, you’ll also find some great logo, book, and identity design on the Côme de Bouchony website.

Typographic Maggie Li Illustrations

Philip Dennis — Wed, 12 Jan 2011 10:09:13 +0000

I love Maggie Li‘s typography posters. The first here, while based on negative space forming the bodies of the letters is at the same time beautifully drawn. It’s interesting how it is only by the context of the alphabet that the letters appear clearly, individually they become abstract shapes and their own little, surreal pictures.

Once you realise that the theme of the last poster is quite dark, you are drawn in trying to work out the meaning behind each one. It may be dark but it still brings a smile to your face!

Christmas Typographic Packaging by Kate Forrester

Philip Dennis — Thu, 23 Dec 2010 18:56:55 +0000

Being this particular time of year, there are lots of opportunities to spy some nice, festive design. If you have a chance to see past the fist full of chocolates approaching your mouth, have a look at Kate Forrester‘s beautiful packaging design for Waitrose.

Her bright typography can been seen on a large range of items in store this season, including Christmas cards, bags, gifts, and even packaging for Christmas crackers. Each letter has a theme, tied in with appropriate iconic imagery and gorgeous colour combinations. I think her B’s gold, pink, and brown are particularly melt-in-the-mouth.

Although Kate’s typographical treatments are often used for book covers and advertising campaigns, she also produces intricate paper-cut illustrations, such as the corporate Christmas card seen here. However, if you’re looking for another reason to buy chocolate, you can find her work on a new range of chocolate wrappers and moulds for Moonstruck. Mmmm …

Fashion Illustration by Mydeadpony

Philip Dennis — Mon, 20 Dec 2010 20:01:15 +0000

Raphael Vicenzi aka mydeadpony uses a mixture of various paints, inks, pens, and brushes to draw his illustrations before fitting them together on the computer. It’s the way he places these different materials together that I think creates the real dynamism is his work. Soft water colours are placed next to energetic pen marks and doodle-like adornments grow into bold, hand-drawn typography.

His work, although incredibly beautiful, has so much put in to to it that it always warrants a second look.

Sophie Henson’s Packed Cover Designs

Philip Dennis — Sun, 19 Dec 2010 11:48:10 +0000

Most recently on the cover of the Big Issue but frequently in the Guardian, Sophie Henson‘s work has been a regular feature in UK newspapers and magazines.

I love her bustling designs for The Guardian’s Guide magazine, which are filled to the rim with her drawings and hand-drawn type. However, her other work is as far ranging as her compositions are detailed. She has created designs for various clothing, while at the same putting her pen to more traditional illustration such as figurative drawings for fashion articles.

Typographical Beauty by Seb Lester

Philip Dennis — Tue, 07 Dec 2010 20:49:47 +0000

This festive piece of typographical design by Seb Lester is a lovely gift to ease us all into the holiday season. Meaning ‘Merry Christmas from Sweden’ in Swedish, it was produced for Ikea’s winter campaign, which has just launched.

This previous senior type designer of nine years has designed typefaces for an array of high-end clients, not least of which being for Liberty of London and developing the masthead and typeface for the Telegraph newspapers while working at Monotype Imaging. He has also been interviewed by the BBC and The Independent for his expert knowledge of fonts. Recently, however, he has been producing limited edition prints.

I particularly like his recent print ‘Stars’, based on the Van Gogh quote, I know nothing with any certainty, but the sight of the stars makes me dream. Not only are its swirling forms perfectly balanced but made up out of a multitude of tiny stars.

A perfect piece of starry design seemed to suit this time of year.