David Plunkert María Hergueta Grundini Peter Grundy and Tilly Northedge met at the Royal College of Art in the late 70s where they became interested in a visual communication that explained rather than sold things. In 1980 they started a studio to do information design in a new and creative way which they called Grundy & Northedge Hugh Aldersey-Williams writing in Graphis in 1995 said of them; The humble basic communication of information has never had the glamour of other areas of design. The creation of a poster casts the designer as an artist. Peter Grundy and Tilly Northedge worked together for twenty-five years. Mission Control - Always With Honor Always With Honor is the collective work of Tyler & Elsa Lang. Their mission is to create work that reflects their curiosity and pursuit of clarity. Client List Audubon Boke Bowl Bon Appetit Businessweek Cascadia Ciderworkers United Chronicle Books Esquire Facebook Fortune GOOD GQ Harper Collins Kiplinger Metropolis Microsoft Money Monocle MTV New York Times Nike Ogilvy & Mather Path Real Simple TED The Atlantic The Manual Threadless Toyota UBS VSA Wired Xbox AWH Press Room A roundup of frequently asked questions. What is your logo? Our logo is the planet Jupiter, with its all seeing, all knowing eye watching over us. Where did you go to school, how did you meet and what did you do before AWH? We met in college at Ringling College of Art & Design. How did you get into the field of information/icon design? We both love icon design and illustration so we would incorporate them into our work as much as possible. What is your process, do you always work together or individually? Pie or cake?
John Devolle / Clear as Mud Illustration regular Illustration for Frank Strack's 'Rules' column in Cyclist magazine. This one's about the art of designing your team kit.Illustration2015 Cover illustration for Professional Engineering Magazine, exploring the pros and cons of fracking.Illustration2015 I realised the other day that I have been skateboarding for 26 years!Illustration2015 a little news illustration for Waitrose magazine about a new service buy 'Bistro @ the station'. You can text your food order whilst on the train so it is ready for you when you arrive at the station.Illustration2015 Large Male Chicken, or Moody Rooster? Notice the deliberately crude printing, no trapping, misalignment etc. personal project, 'Sometimes its good to Lie'Illustration2011
SELECTED WORK : Matt Dorfman : Design + Illustration Scribner 2016 / Art direction: Jaya Miceli W. W. Norton 2016 / Art direction: Chin-Yee Lai Soft Skull 2016 The New Yorker / Re-branding the Koch Brothers / AD: Chris Curry Playboy / Fiction: Crow Country Moses / AD: Paul Lussier NPR/WHYY / Fresh Air with Terry Gross / Standard identity NPR/WHYY / Fresh Air with Terry Gross / Web Identity NPR/WHYY / Fresh Air with Terry Gross / Mobile identity Verso / Art direction: Andy Pressman The New Yorker / Malcolm Gladwell on Katrina / AD: Chris Curry Maxim / David Copperfield on the vanish / AD: David Zamdmer The New Yorker / Fiction: Alejandro Zambra / AD: Chris Curry Psychology Today / Battle Tested / AD: Ed Levine Wired / A Future of D**k Pics / AD: Caleb Bennett Soft Skull Press / Counterpoint The Penguin Press / AD: Darren Haggar Riverhead / AD: Helen Yentus Riverhead / Art Direction: Helen Yentus Counterpoint / No Stopping Train / AD: Kelly Winton NPR / 2014 / podcast identity / Mobile version NPR / 2014 / Podcast identity / Web & Desktop W.W. W.W.
Nyctalope Picture Block You have used various interesting printing processes, from Risograph to rubber stamps – what's your favourite and why? I don’t think I really have a favourite printing process and every project has to find its printing process. Stamps, for example allow you to compose unique and very different images from the same shape repertoire. I used them for Tamponville, by isolating precise graphical elements from existing buildings, generic materials (girders, concrete structure, bricks, boards) or elements that give a notion of architectural period, I obtain an alphabet of shapes, a sort of typology of the town. These shapes, when separated one from the other, can seem almost abstract and it’s only when they are assembled that you can identify a building. What interests me in this process of assembling with stamps, is that it looks like the way a town can be constructed, where different periods, materials and types of use accumulate and are superimposed on top of each other.
violeta noy Andreas Samuelsson CAROLINE TOMLINSON