Quipsologies

Starting today, I'll be a regular contributor at Quipsologies, a fantastic design resource by the talented folks at UnderConsideration.

That means I'll be poking around the far corners of the web on their behalf, searching for tasty visuals and links to share on a weekly basis. I'll be looking out for inspiring design ephemera — typography, branding and imagery that might otherwise go unseen. So if you've got a quip you'd like me to consider, drop me a line (or tweet)!

They just relaunched after a beautiful Typekit-powered redesign and as co-founder Armin Vit put it, it's hot. It really is. Come on by.

Coralie

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Modern Zoo, part 2. I skipped B for Berthe the bat, because I love Coralie so much (le serpent corail). One by one, I'm re-drawing Lou Klein's alphabetical origami zoo.

Lou contacted me via this site when I made the original post, and I asked him to write back and tell me about his life, since I couldn't find anything about him online. Here's what Lou wrote:

Since creating "Animals to Fold" (that was the name of the English language edition) quite a few years have elapsed and I've had a varied career in design, education and publishing in the USA and England. I taught at The School of Visual Arts in NYC, lectured in many art colleges in Great Britain but especially The Royal College of Art (5 years as a senior lecturer and 5 years as head of graphic design). During that period I also spent a semester at Yale as visiting professor and acting head of graphics.

In London I was creative director at Grey Advertising followed by establishing my own design group. During that period I created the "pencil" award which is the "Oscar" that's given out by the British Design & Art Direction Association for design, advertising, etc. in various categories (I won 5 of them myself in the "best Direct Mail" category).

I was also consultant to Time Life Books in London and set up a design department for their British Empire Magazine project with the BBC. Eventually I was appointed Director of Design for Time Life Books in the USA. There I worked on new product development (mostly book series). All of my personal work has preceded computers and none has been digitised. The bulk of my work remains out of reach as slides and print samples in cardboard boxes in London. However, if you'd like to see some recent work. which is mostly 3 dimensional, my daughter created this web site.

Let me know what you think.

Lou Klein

Venetian suite 2

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The second in a set of four books created for the Venetian Suite project in Italy, May-June 2010. I posted the first book ("77 palazzi on G.Canal") here. Read more about the project and trip with SVA here.

0-100 in S.Marco

Every doorway in Venice is numbered. Each number marks an actual door, or a window that was formerly a door, or part of a wall where a doorway once was. The hand-painted numbers are distinctive: always red, always in a white oval or rectangular shape, outlined in black.

The numbers were put in place in the mid-19th century to replace a much older system that had ordered Venice's doors for hundreds of years. All of the original civic numbers ("numeri civici") are maintained to this day, whether the door is functional (or even there), or not.

I discovered that the grand entrance to the Basilica in Piazza San Marco is "#0." It's unmarked, of course. Doorways #1, 1a and 2 are also unmarked (the Doge's Palace). The first marked number is "3" — a gelato shop in the piazza, across from the Palace. The numbers continue from there, wrapping around the piazza through the arcades, and continuing on into every street, canal and corner of Venice (many thousands of hand-painted numbers).

One way to explore the city is through these numbers. Venice can be unknowable, unpredictable, chaotic; the numbers project a sense of order and organization, a guiding rationale. But they're also enigmatic.

Early on a Saturday morning, from a consistent vantage point, I photographed each of the first 100 numeri civici in the piazza. Each photo documents a number (at the center/top) but also contains fragments of doorways, people, interiors and signage. Some numbers are missing; I noted those on blank pages. Look closely at the photographs and you'll also discover, in the reflections, what was behind me — beautiful moments of deep space and light containing palace, piazza, basilica, people and sky.

A selection of the photographs used in the book are on Flickr.

Download the entire PDF here (4.8MB).

75

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The AAP Department of City and Regional Planning at Cornell University is celebrating its 75th anniversary. Here's our gridded "75" design on a save-the-date postcard, using Pantone spots 3965 (yellow-green) & 540 (blue). The photo is from 1957. More to come, including a 148-page book in the fall.

Bruno Munari, on beauty.

"If you want to know something else about beauty, what precisely it is, look at a history of art. You will see that every age has had its ideal Venus (or Apollo), and that all these Venuses or Apollos put together and compared out of the context of their periods are nothing less than a family of monsters."

From Design as Art (1966).

Pantone 808

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Our latest issue of the alumni newsletter for the College of Architecture, Art and Planning at Cornell University, featuring neon blue-green Pantone 808. This is the eighth issue of the remarkable magazine that we re-imagined and redesigned four years ago.

Soulellis Studio is a design firm specializing in brand identity and communications. This is where we show our work and other things that turn us on. Visit us at 114 West 17 Street, New York City 10011. Follow us on Twitter. Give a call at 212 243 5080. Or send a note to hello@soulellis.com

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