Gluekit’s recent illustration for EW’s Must List of the super awesome and funny Kristen Wiig. Our favorite part of her Wikipedia entry reads: “She was hired as a graphic artist by a plastic surgery clinic to show clientele what they would look like after surgery, but left for Los Angeles before ever starting the job to pursue an acting career.”
Steven Harrington’s Summer 2009 calendar cover for the Yale University Art Gallery!
Steven’s addition to the series features his adorable personal iconography in a collegiate still life, complete with yarn ornaments and anthropomorphic objects. Harrington is based out of Los Angeles (check out the behind-the-magic peek into his California home at Design*Sponge) and has produced a stunning array of graphic gems, stellar art, and awesome goods under his own name and as co-owner and director of the graphic design studio National Forest Design. With influences ranging from classic Time-Life Encyclopedias circa 1965-1972, to thrift stores, owls, and the Moody Blues, Harrington’s distinctive style merges hand-drawn nostalgia with illustrative and dimensional cut paper objects, creating a recognizable universe of playful characters, symbols, and starscapes. His work has been exhibited widely, in Los Angeles, New York, Chicago, Paris, Berlin, Milan, Tokyo, Montreal, and Melbourne.
Summer is definitely here in the balmy Northeast, and that means it’s time to feature another set of Yale University Art Gallery Calendar Covers!
This cover for the Summer 2009 calendar is by digital typeface pioneers and respected graphic design publishing luminaries Emigre (Rudy VanderLans and Zuzana Licko), and utilizes a typeface Emigre distributes (a shadowed Los Feliz by Christian Schwartz) against Puzzler type designed by Zuzana. Emigre is widely recognized as a hugely influential force in the field of digital typography and design, known both for designing or releasing many cutting-edge typefaces– early dot-matrix fonts, high-resolution typefaces, and vector-based designs– as well as for publishing Emigre magazine between 1984 and 2005. The magazine was a venue for radical digital experimentation, highlighting the potential of the studio’s innovative typeface design and establishing an early forum for a growing community of digital designers. The entire run of Emigre is now part of the Museum of Modern Art’s permanent collection.