Parra’s recent cover for the Summer 2008 Yale University Art Gallery calendar cover series.
We are big fans of Parra and love his sexy lines whether they are black and gold or hot pink, orange and electric blue!
Here’s a postcard featuring some type play that Gluekit created for the Yale University Art Gallery. The event being promoted with this postcard was an end-of-the-year celebration for students involved at the Gallery, and their families. The play with angles and curves– which often occurs in type created for the Gallery– reference the Louis Kahn building in which part of the Gallery is housed.
Stripes still make us happy over here in Gluekit land!
Summer 2008 has brought another onslaught of brilliant designs for the Yale University Art Gallery’s Calendar Cover Series. Three artists created designs for this season’s calendar, which we’ll be rolling out this week for your viewing pleasure!
Our first design is from Seymour Chwast, and features his current interest in intricate all-over patterning. Chwast founded Pushpin Studios in 1954, and together with co-founders Milton Glaser and Edward Sorel, went on to create some of the most sizzling graphics of the late twentieth century. Gluekit is a huge fan of the studio’s Push Pin Graphic, which paved the way for many of the studio and designer zines of today. Great stuff– and look out below!
Last Spring, Mr. Ryan Waller did a most excellent and spring-a-licious design for the Yale University Art Gallery’s Calendar Cover Series. As he does so well, Ryan brought a sense of humor and a fine eye for detail and fun to the party. Here at Gluekit, we just loved his use of patterns– stripes, dots, and boxes– for this piece.
Also be sure to check out Ryan’s shirts and totebags (Library and Museum), available from Part of it.
Here’s another fantastic cover from the Yale University Art Gallery typographic calendar cover series! This one was created by Karel Martens, revered Dutch graphic designer and typographic master. Martens founded and currently supervises the Werkplaats Typografie (WT) program at the ArtEZ Institute of Art in the Netherlands; two monographs, Printed Matter (1996) and Counterprint (2004), have been published about his substantial contributions to the fields of art and design.
One of the wonderful things about the calendar series has been the opportunity to juxtapose generations of designers and various approaches to typography. The Gallery (and Gluekit!) was honored by Martens’s Fall 2007 eye-opening contribution.
Recent Gluekit type work for the Yale University Art Gallery.
Gluekit served up some fresh type on the 2008 Members’ Events postcard for the Yale University Art Gallery. We’ve been exploring some new type avenues (fun!) and hope to share the results here. Enjoy!
Happy little triangle families and bright blue dotted shadow paths! It’s Family Day (at the Yale University Art Gallery). Courtesy of our friend the potato print, in conjunction with a nice palette of paint and some fresh brushes.
Gluekit loves late-night painting sessions and getting our hands dirty on projects.
Last week Gluekit attended a very nice AIGA evening event at the New School in New York. After a quick jaunt uptown to take in the Kara Walker retrospective at the Whitney, and a narrow avoidance with some dodgy character blocking up the subway lines, Gluekit settled into cozy seats at the Tishman Auditorium and took in a conversation with two pioneers of modernism, Wim Crouwel and Massimo Vignelli, moderated by Alice Twemlow. There’s a nicely detailed announcement of the talk here, and as usual AIGA did a fabulous job of organizing the event. It’s always sweet to attend a well-handled lecture, that starts on time, is handled deftly, and that does what it’s supposed to do. In this case, Twemlow scurried hither and thither across the careers of both men, teasing out commonalities and differences, and showing the wide swathe of each man’s design legacy. It was a great session, and for us, Wim totally rocked our sox. There’s something appealing about the application of a system of production that’s reliable, extensible and modular.
Favorite moment? When, after a review of Crouwell’s New Alphabet, Twemlow threw up the album cover for Joy Division’s Substance and noted, to gasps of realization from the audience, that the cover actually reads “Substamce.” It was a beautiful moment of collective realization.
Glukit likes grids, modernism, and mistakes.
