1. Flower tower, 2006
2. Sliced, 2007
'Paul Hendrikx and Frank Hanssen are the founders of Studio Mango who met at the Technical University of Delft while studying industrial design."A product should have a reason for existing, it should bring something new to the world".'
found via mocoloco
The images are retouched to fit the format of Thescienceofdesign. Original images at Studio Mango.
Unique and engaging work of Iranian graphic designer Iman Raad.
b. 1979 in Mashad, Iran.
"I try to explore the language of myths in modern world. I like my work to have an enigmatic theme. By looking and wondering in ancient sources, such as mythic images, religious music, mysterious talismans and discovering what makes them charming, I learn to create modern myths, produce bold and satiric mythic images to be used simply by present people. I like to make posters as dignified, magnificent, and charming as an inscription."—Interview with IdN Magazine
Found and traced from my book Area 2: 100 graphic designers by Paidos.
1. Gonja Sufi 7" Concepts, Unused jacket, 2009
2. Philopoemen illustration for Daniel Ciardi, 2009
3. CD Cover, Rykestrasse 68 by Hanne Hukkelberg, Propeller Recordings and Non-Format, Norway, 2008.
Amazing portfolio of Mario Hugo, who lives and works in New York.
Werk magazine N.14, 2007. Art Direction: Yasushi Fujimoto. Printed in Singapore. Born in 1961, Theseus Chan studied Graphic Design at Nanyang Academy of Fine Arts (Singapore), and is the founder of WORK publishing a worldwide graphic magazine WERK.
1. Talkshow, 2007. Mapping a discussion between Aaron Koblin, Wilfried Houjebek, and Catalogtree as part of the Info Aesthetics Symposium organized by LUST (Netherlands, 2007). Coding by Lutz Issler.
2. Typopath 1.0, 2002. Mental Map of the Werkplaats Typografie. The form is shaped automatically by a basic set of rules.
From an interview by Greg J. Smith at Serial Consign:
Catalogtree is a multidisciplinary design studio based in the city of Arnhem in the Netherlands and formed by Joris Maltha and Daniel Gross. "We met at the Werkplaats Typografie (a 2-year graphic design masters program in Arnhem, NL) in 1999. We shared a great interest in generative systems and media independent design and worked on some web-sites together. We started Catalogtree.net as a webspace we shared with some friends. It's a technical term for filing structures - files within folders within folders, etc. We used it as a testing site for ideas and sketches in any media. We discussed projects and shared technical knowledge. Over time, as real commissions came in, it gradually turned into a portfolio site (though we still like to upload sketches) run only by the two of us. We only started using it as a name to work under a few years ago."
"If the data allows it, we like to break down information into a graphical hierarchy similar to poster designs: a larger motive or trend is visible at first glance, and more detailed information becomes clear on closer inspection."—Read more here.
Found in the book Area 1: 100 graphic designers.
Büro Uebele is the name of the studio run by Andreas Uebele in Sttutgart, Germany. Born in 1960, he studied architecture and urbanism at the University of Stuttgart, and since 1998 is professor of Visual Communication at the University of Dusseldorf. In 2006 he published the book "Signage Systems and Information Graphics".
1. For Newson's exhibition at the Groninger Museum. Contains: pop-up book, t-shirt, two buttons, and a 'blotter art' sheet.
2. Poster for the theatrical piece The woman from before, 2006
3. Loose Lips, 2008. Thoughts on Democracy
4.Pop-Art Pantyhose, 2003. Textile print for Ryuko-Tsushin.
"We are a small, independent graphic design studio based in Amsterdam, consisting of three persons: Marieke Stolk, Danny van den Dungen and Erwin Brinkers. We have been collaborating as Experimental Jetset since we graduated from the Gerrit Rietveld Academy (in 1997, 1997 and 1998 respectively), and in our work we focus mostly on printed matter. We often describe graphic design as "turning language into objects". With this website, we are in fact doing the opposite: we are trying to turn objects into language.
Siggeir Hafsteinsson lives and work in Reykjavik, Iceland
—I usually start by browsing the internet, looking for materials or elements. It’s after I start on the piece that the real idea comes to live. What people see as a finished piece most of the time isn’t what the idea was to make originally. I go from the original idea to something totally different just based on the stuff I find or what the design I’m working on evolves in to. The topics are things that I find inspiring, urban art, graffiti, cultural icons, music or movies. The outcome is something that I find interesting, surreal, funny and even political.— Interviewed by Monarkh.
"Shoes that are both provocative and otherworldly. Her work fuses artistic and technological experiment in order to discover shoes anew."
b. 1979, Netherlands.
MA Design Products at Royal College of Art in London
MA London College of Fashion, Footwear and Computer course
BA hons Higher School of Arts Arnhem, 3d design
Sugar Farm is a small museum setting, that include furniture and objects, made to tell the story of these strange creatures.
2001 Psychology and Sociology at Fjölbrautaskóli Suðurnesja
2002-2005 BA Product design from Iceland Academy of Arts.
2006-2008 MA 3D design from Cranbrook Academy of Arts.
1.Folded flyer for Breakbeat.is October 2008 events.
2.Posters for the Icelandic Human Rights Centre, with photo by Andrea Delta
Ragnar Freyr Graphic Design is a one man studio located in the heart of Reykjavík, Iceland. Founded in 2001, it specializes in typo/graphic design for both the print and screen media. He also runs the creative blog Createmake that features inspiration from around the world.
B.A. Graphic design at Icelandic Academy of Arts. 2005.
Evolutionary Tree, 2007
b. in Kyoto, Japan. Lives and works in San Francisco, California.
Statement: "My interests arise from the boundary between what we call natural and artificial. I observe the physical and social environment in detail, to find hidden beauty and peculiarity-- things such as a cell phone antenna in the shape of a pine tree, birds that are not native to the area, or moss growing in a crack of cement sidewalk.
The nature I notice survives in different forms, by adapting, adjusting and mutating to its new urban setting. This manipulated urban nature strongly influences my recent works. I emphasize the subtle details of surviving nature and exaggerate their illogicality to cultivate my own version of invented creatures and landscapes. My world is not a creation of total imagination, but is a projection of the reality in an absurd form."