â»ïž @vrintskolsteren đ ă»ă»ă» Windows for the @arteantwerp showroom Autumn-Winter 2018

pixel skylines
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Not today Justin
Sade Olutola

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Andulka
Color Me Curious
Cosimo Galluzzi

bliss lane
I'd rather be in outer space đž

shark vs the universe
The Bowery Presents
noise dept.
$LAYYYTER
hello vonnie

Product Placement
EXPECTATIONS

tannertan36
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NASA
seen from Netherlands
seen from Ecuador
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seen from Japan
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seen from Malaysia

seen from Italy
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@opentypeotf-blog
â»ïž @vrintskolsteren đ ă»ă»ă» Windows for the @arteantwerp showroom Autumn-Winter 2018
â»ïž @braulioamado
â»ïž @colophonfoundry ă»ă»ă» The PIN family by @hoonspeaks
â»ïž @goodtypefoundry ă»ă»ă» Agentur Regular â»
â»ïž @bureauprogressiv ă»ă»ă» Johannes Esper, Jörg Gelbke, Nino Maaskola & Claudia Mann â AUFRECHTSTEHEN @KĂŒnstlerbund Baden-WĂŒrttemberg #projektraum #akku #offspace #graphicdesign #type #art #printedmatter #yellow #Adieu #Bold #typeface @goodtypefoundry #bureauprogressiv
â»ïž @j.mocek ă»ă»ă» Next poster for @harveysutherland and Bermuda - Australia Summer Tour 17/18 happening right now #poster #posterdesign #typography #harveysutherland #bermuda #summertour #kangaroo
#Repost @vrintskolsteren ă»ă»ă» Invitation for the l'Amateur exhibition
Offical .OTF merch available now! Link in bio âšïž
â»ïž @nln.pprll ă»ă»ă» Everett Thin #WIP #typedesign
â»ïž @pouyaahmadi_com ă»ă»ă» THROUGH A GLASS DARKLY UIC School of Design Public Seminar Series 2017â18 :: MARK OWENS :: Friday, October 27, 6:00pm UIC School of Design :: This series of seminars aims to investigate the parameters of design as a practice. Rather than showcasing âbest practicesââoptimal ways for designers to take on predetermined rolesâit looks at alternative models for the profession in which designers develop their own agendas and territories. As a field, design has changed dramatically over the past few decades. While Modernist designers worked to rationalize their output in the 1950s and 60s, Postmodernism shattered that seemingly objective (yet authoritative) Modernist world view in the 1980s and 90s. Postmodernismâs lack of agenda, alongside the democratization of production tools and the World Wide Web, allowed for the nostalgic return of Modernism as a so-called âGlobal Styleâ/âZombie Modernismâ in the early 2000âs, but without early Modernismâs sense of public mission and service. Now the question is: where do we stand as design practitioners, writers, and educators in the post-digital and post-internet era? How do we redefine the role of the contemporary designer? Through a Glass Darkly questions notions of design practice today by considering alternative agendas for design. It showcases practices that go beyond surface, image, and form and utilize design as a tool capable of generating references and agendas outside predetermined boundaries. It introduces designers that elevate design discourse by repurposing design in the form of writing, producing, and publishing. It brings together designers who reject the status quo and seek to create their own alternative realities; designers who endeavor to remain relevant by redefining their practice and adopting positions outside traditionally defined domains. @uic_cada @marklifeofthemind #lectureseries #uiccada #markowens #schoolofdesign #typography #posterdesign #typographicposter #posterseries #graphicdesign #chicagodesign #plakat #affiche #designeveryday #itsnicethat #eyeondesign #postereveryday
â»ïž @nodeberlinoslo ă»ă»ă» âParapolitics: Cultural Freedom and the Cold Warâ is devoted to the global dimension of cultural politics in the Cold War and to the changing meanings and aims assigned to modernism. Departing from an examination of the interdependencies between the political and aesthetic struggles of the era, the exhibition further reflects the ideological foundations of the conflict lines of todayâs global contemporary art. @hkw_berlin #nodeberlinoslo
â»ïž @ortype đ„ ă»ă»ă» Read all about the identity of Arket on Itâs Nice That(link in bio) - âThe main counterpart of Arketâs identity is its typeface, Arket Sans by Icelandic and Danish design duo, Or Type. The pair had the difficult task of responding to a brief âthat did not yet reveal the brand name or much of the concept, but alluded to it,â Arket explain. âIt asked for a European sans serif with humanist qualities, looking for an archetypal appearance at first glance, but some character and imperfection up-close.â
by Laurajouan
(via Itâs Nice That | Good Type: An Oslo-based foundry producing typefaces of a quality its name suggests)
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Sleeve
IDEA by FABIANO PROCOPIO