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"Dutch artist Berndnaut Smilde is best known for his fantastical Nimbus series, in which individual clouds appear to magically float in empty rooms. The haunting images portray the airy nimbuses drifting through gorgeous Rococo rooms, Gothic cathedrals, and abandoned factories, evoking a sense of mysticism or supernatural presence.
Carefully controlling the temperature and humidity in a room, Smilde uses a fog machine to produce the ethereal clouds that remain suspended in the air for only a fleeting moment. Although the nimbuses are visible for just a few seconds, their ephemeral existences are made permanent through photography. These works center on an impermanent state of being between construction and deconstruction, as the dreamy clouds appear and vanish in the blink of an eye.
Smilde's latest exhibition Antipode will be on display at the Ronchini Gallery in London until June 14. The show will feature the artist's stunning multidisciplinary works that synthesize photography, installation, performance, and sculpture. The exhibition title Antipode is a geographical term that refers to parts of the earth diametrically opposite each other, echoing Smilde's focus on duality in his artwork."
Source: My Modern Met
"Hildur Sigurðardóttir and Ólöf Birna Garðarsdóttir founded their studio in 2010 after the financial crisis has given them a bit more time. They decided to move away from the established means of graphic design to rather specialize in one of the oldest forms of printing.
As the only traditional letterpress printers in Iceland, they established their own line of products with all kinds of wonderful goods like business cards, hangtags, notebooks, greeting cards, invitations – always with a fun twist."
"This commercial for MOO features a whimsical low tech interpretation of the company’s on demand printing service. MOO’s Printfinity technology allows them to print different images on each card or sticker in a set. The commercial was created by creative agency KesselsKramer."
Source: Laughing Squid
"Street Books is a bicycle-powered mobile library, serving people who live outside. Books are available to check out and return, using an old-school card & pocket inside each cover. Patrons are not required to show ID or proof of address, and are asked to return the books when they are able."
Check out their website here.
From the series “Lost & Found”
From the series “Lost & Found” | detail
“Against the Wind”
“Against the Wind” | detail
“Against the Wind” | detail
“Derweze” | detail
“Derweze” | detail
“Rabie” | Spring, breeze in Arabic
“Rabie” | detail
“Rabie” | detail
The Sydney, Australia-based artist Gunjan Aylawadi creates intricate, colorful sculptures that appear to resemble woven textiles. However, upon closer observation, her work—inspired by patterns and motifs in Islamic art—are made entirely from curled paper. The process, long and intricate, can cost the artist months on a single artwork. And not just any old paper will do. For example, “Against the Wind” is made from hand-cut strips of paper from old music books, which are then individually hand rolled and assembled. Although complicated, Aylawadi’s reasons for making art are simple: “What I enjoy most about making my work is the experience people have when they look at it,” she says. “They stop for a moment to have a closer look and the moment turns into long minutes of being fascinated by the beauty a simple medium like paper can add to the work infront of their eyes.”
"The origami artist Sipho Mabona created a life-sized elephant made of a 15 square meters sheet of paper. The finished work weighs roughly 250 kilograms and is just over 3 meters high. It is now too big to even fit through the doors and windows of the exhibition space. Due to the extraordinary dimensions of the paper Mabona had to be supported by several assistants during the folding process. According to Mabona there were up to ten helpers at a time. You can currently visit the White Elephant at KKLB in Beromünster, Lucerne."
"Mohawk, a fourth-generation, privately-owned fine paper manufacturer based in New York’s Capital Region, was profiled on the front page of The Wall Street Journal Weekend, March 8-9, 2014, and announces the creation of the new Mohawk Print Innovation Center in Albany, NY.
As Mohawk celebrates 83 years of heritage in the Capital Region, the company is recognized by The Wall Street Journal for embracing technology, leading with innovation and creating demand for its products in order to thrive amid a dramatic shift in demand for traditional paper.
With offices, manufacturing and converting facilities in Cohoes, a manufacturing facility in Waterford and a warehouse/distribution facility in Albany, the company now celebrates the completion of the Mohawk Print Innovation Center, a $1.5 million investment in the future of digital printing, located at the Port of Albany.
“The development of the Mohawk Print Innovation Center supports our corporate commitment to foster makers of all types through inspiration and education. As a forward thinking, technology-driven company, Mohawk aims to develop innovative products, while engaging and inspiring the world’s leading printers, designers, creatives and makers,” says Thomas O’Connor, Jr., chairman and CEO of Mohawk.
The Mohawk Print Innovation Center features three, new, state-of-the-art digital printing presses, including:
- Xerox iGen 150 digital printing press utilizing revolutionary, new matte dry toner to reproduce outstanding text and graphic images and photo-rich applications
- Xerox Wide Format IJP 2,000, a wide format digital inkjet press with capability to produce high resolution graphics and images at incredibly fast speeds (one of only 50 installations worldwide)
- HP Indigo 5600 Digital Press is enabled by HP Indigo’s liquid ElectroInk technology providing prints of the highest quality, often matching or exceeding traditional offset printing quality
- Post production, bindery and finishing equipment
As a manufacturing leader of high quality papers for digital printing for over 15 years, Mohawk created the Print Innovation Center with a goal to inspire, educate and make.
The company will utilize the facility as a platform to inspire designers, printers and students to use high quality paper for their print projects. Mohawk employees will benefit from ongoing access to state-of-the-art digital press equipment critical for training and education, research and development, and enhancement of current products. The company will also maximize its investment in the facility’s state-of-the-art digital printing equipment to output marketing and sales collateral showcasing Mohawk’s industry-leading digital printing papers.
Mohawk is a global company, headquartered in Cohoes, NY, with distribution to 61 countries outside North America. The company has sales and operations offices in Asia, Europe, and Latin America, as well as a dedicated warehouse in the Netherlands.
About Mohawk Mohawk is North America’s largest privately-owned manufacturer of fine papers and envelopes which are preferred for commercial and digital printing, photo specialties and high-end direct mail. Mohawk fine papers and envelopes include the signature brands Mohawk Superfine and Strathmore, as well as proprietary treatments Inxwell and i-Tone. With a culture of innovation, Mohawk’s business model now extends beyond paper manufacturing into new areas of growth, including digital substrates and web-based software platforms, which connect designers and printers to new markets.
As a leader in environmentally and socially responsible business practices, Mohawk was the first U.S. manufacturer of commercial printing papers to match 100 percent of its electricity with wind power renewable energy credits and the first U.S. premium paper mill to shift toward carbon neutral production. Mohawk’s portfolio of recycled papers is certified by Green Seal and the Forest Stewardship Council (FSC)."
We love the Maker Quarterly publication made by our friends over at Mohawk. The best part is you can subscribe for free over on their website or you can view the publication online. Check it out here!"The Mohawk Maker Quarterly is a vehicle to support a community of like-minded makers. Content focuses on stories of small manufacturers, artisans, printers, designers, and artists who are making their way in the midst of the digital revolution."
"In October of 1936, J.R.R. Tolkien delivered to his publisher the manuscript of what would become one of the most celebrated fantasy books of all time. In September of the following year, The Hobbit made its debut, with 20 or so original drawings, two maps, and a cover painting by Tolkien himself. But it turns out the author created more than 100 illustrations, recently uncovered amidst Tolkien’s papers, digitized by Oxford’s Bodleian Library, and freshly released in Art of the Hobbit — a magnificent volume celebrating the 75th anniversary of The Hobbit with 110 beautiful, many never-before-seen illustrations by Tolkien, ranging from pencil sketches to ink line drawings to watercolors. It’s a fine addition to our favorite peeks inside the sketchbooks of great creators and digitization projects in the humanities, and a priceless piece of literary history."
"A rare piece of cross-disciplinary creativity from the mind of one of modern history’s greatest creators, Art of the Hobbit is equal parts literary treasure and treat of art, exploring the notion of the author as designer — a particularly timely concept in the age of self-publishing and disciplinary cross-pollination in the making of books."
Thanks to Brain Pickings for the article!
Check out this interview with German designer Erik Spiekermann. Thanks Behance!
"With eight floors dividing the space instead of walls and an entire floor dedicated to his small printing press, the building is atypical and not just for German standards. See the pictures of this design and typographic haven by Max Zerrahn and read the entire interview on FontFont news."
"I have a small proofing press, a Korrex Nürnberg 38 by 55 cm. It prints letterpress from wood or lead type, woodcuts, polymer plates or anything higher than its surroundings. I have lots of metal and wood type, from 8 point Akzidenz Grotesk to 33 line wood type, plus all the other stuff needed to set type. And also two table-top platen presses which in German we call Boston-Pressen."
"Can you recall how your interest for paper, type and the smell of (ink) color – the aphrodisiacs of printing – first came into being? Yes. When I was around seven or eight, we had a neighbour who was a printer. I remember him showing me a piece of white paper. Then he showed me a printing form – some columns of type and all the furniture around it – which looked very complicated and messy to me: a lot of metal and ink. Then he took a proof from that form onto the white paper, and like magic it showed only a few precise black marks, while the paper was still clean and white. Those marks were letters that I could read and the whole process was a miracle to me. That is when I fell for type and printing. Now I come back to that original technology of putting marks on paper: letterpress printing."
"You had a printing workshop back in the seventies but unfortunately it caught fire. It must have been absolutely devastating … Now looking back with healed wounds: do you think there was something positive about it? After my workshop, presses and type burnt down, I had only pencil and paper left, plus my brain and experience with type – all the tools a graphic designer needed at the time. I was forced into a career that I had no formal training for. And still don’t. But in a situation like that it didn’t matter. I just sketched type for other people to set and became knowledgable about photosetting and type design. Two years after the fire in 1977, I designed my first typeface for Berthold, LoType."
In the lifecycle of book design, there’s a moment when the files are safely off to the printer—corrections made, images retouched, fonts packaged and colors reviewed. This is when I breathe a sigh of relief and indulge in a small but satisfying part of my job—picking the head and tail bands.
Sure, head and tail bands (h/t bands) are overlooked by the vast majority of readers. But to me, they’re the finishing touch that makes the book complete. If you don’t know what I’m talking about, pick up a hardcover book and look at the top of the spine. Chances are there’s a colored silk band where the pages meet the spine. Turn it upside down and there’s another band on the bottom. These are the head and tail bands. Not all hardcover books have them these days, so you might have to pull a few books off the shelf before you find them.
Thanks to Allison Weiner of Chronicle Books!
It is no wonder that Lorenzo Petrantoni spends much of his time pouring through old books to find artworks to photocopy for his collage illustrations. His most recent exhibit in Milan included over 22,000 individual pieces of paper attached to the gallery walls, and 800 time pieces, to illustrate the word Timestory. The exhibit is now past, but you can fortunately see his new Timestory book on the same topic which was just released by Gestalten. He must have the patience and organization of a librarian in order to keep track of all those little scraps of paper. (via Letterology)
A Delicious Life showcases today’s new food movement and the people behind it. The book takes us into the workplaces and minds of groundbreaking foodists who are fine-tuning cooking, baking, and brewing methods; rediscovering long forgotten ingredients; developing cutting-edge new recipes; and creating exceptional experiences around food.
A Delicious Life reveals the personalities and passions fueling food’s current evolution. Featuring a broad spectrum of food entrepreneurs and their striking locations for cooking, eating, and shopping, as well as a selection of their kitchen utensils, products, and surprising events, the book provides readers with sources and inspiration to become a part of this movement themselves. (via Gestalten)
Artist Ekaterina Panikanova creates densely layered paintings across large spreads of old books and other documents, resulting in artwork that blurs the lines between painting, installation and collage. Born in St. Petersburg in 1975 Panikanova graduated at the top of her class from the Academy of Fine Arts and was subsequently given a studio to work from for five years. She now lives and works in Rome. Much of what you see above was from her second ever solo show Un, due, tre, fuoco at z2o Galleria earlier this year, and if you’d like to see more, check out her website. (via This is Colossal)
As a part of her brilliant photo project, photographer, Jennifer Causey met up with Amelie Mancini, the French printmaker, and owner of Left Field Cards for a Q & A session. All of her cards are hand carved and printed from linoleum blocks!