Inspirational quotes from great minds like Albert Einstein, Ralph Waldo Emerson and Thomas Edison are given a minimalistic, yet striking visual treatment in these poster illustrations by Toronto-based web and graphic designer Ryan McArthur.
It’s likely you’ve seen Lady Gaga’s latest album ARTPOP cover on a billboard somewhere. It was designed by Jeff Koons and is a striking and colorful pop art image. The cover bears a sculpturesque Lady Gaga sitting naked behind a blue gazing ball and is juxtaposed with Botticelli’s “Venus” collaged in the background along with bold chopped up typography. On her collaboration with Koons, Gaga says, “We bring ARTculture into POP in a reverse Warholian expedition.” Co. Design asked graphic design stars Stefan Sagemeister, Paula Scher, and Nate Duval to weigh in with their critique of the Jeff Koons and Lady Gaga album cover collaboration.
Co.Design: Do you think this Gaga and Koons collaboration is successful in its attempt to merge high art with pop culture? How might you have designed it differently?
Stefan Sagmeister: I am intrigued by the visual of the Lady herself. It is iconic and a good departure from past Gaga incarnations. Love the blue ball and hate the type. This would have been so much stronger without any typography.
Paula Scher: I LOVE the cover. It’s hilarious, sensual, and beautiful. Just like Lady Gaga.
Nate Duval: It sort of looks hastily pieced together in Photoshop. Personally, I would have focused more on the statue, which does look intriguing, in a more realistic high-fashion photo shoot setting, aiming for a larger focus on an artificial/natural juxtaposition. Seeing the hand of the artist and layout work done digitally sort of softened the blow of the striking and thought-provoking image of Stephanie cast in plastic.
Co.Design: In an effort to get people to actually buy the physical album instead of just downloading it, the first half-million physical copies sold won’t have a flat image cover. Instead, “Lady Gaga” will be pasted on, in hot pink metallic foil, and the word ARTPOP will appear in silver. Does this have potential to turn into a collector’s item?
Stefan Sagmeister: That depends 100% on the quality of the music. If the album is epoch-making and genre-changing, then yes, this will become an icon. If it is, as I suspect without having heard it all, one more pop record, then it will not. We shall see.
In general, files, unlike vinyl and CDs, are not scratchable and therefore do not need to be packaged. This is why album covers lost their meaning–and the reason we have not designed one in a long time. The Koons-Gaga collaboration temporarily reverses this. It makes the packaging matter a little bit. The fact that we are talking about this can’t be bad for her album.
Nate Duval: I think the foil version will look even more disjointed and be even less effective than the flat version. I think it will come off like some of the classic No Limit hip-hop covers of the ’90s, where the type was constructed out of diamonds and gold.
Glitter and tricks don’t always make something better, which I think is a funny sentiment that our fair Lady would probably agree with, too. A classic high-fashion shoot of the Gaga statue, with contoured embossing giving it a three-dimensional look, would have added to the level of realism and would have been a cool way to use an extra printing technique.
For those not familiar with the work of Jeff Koons, he made this life sized sculpture of Michael Jackson and Bubbles:
and this balloon dog sculpture:
And here is another dog by Jeff Koons; a puppy made of flowers:
Graphic Designer, Logan Walters from Detroit, Michigan designed this series of covers by sampling classic Wu-Tang covers and redesigning them in the classic Blue Note Records aesthetic. Covers from the “Wu-Note” series have been featured in New York Times, New York Magazine, the FontFeed, Kottke.org, and more.
In this series of typographic illustrations called “Superhero Typographic Classifications”, Minnesota based graphic artist Matthew Olin couples well known superheroes with common fonts.
Often-chaotic communication clutters the clarity of our visual world; however, we can draw analogies between the elements of design and those of superheroes in an attempt to create clarity, educate and inspire. These elements, primarily the use of symbol, color and typography, have the power to communicate with an audience far beyond the surface level. Relating these characteristics to those found within beloved superheroes lets us connect the qualities of each and draw similarities between the two. In doing so, we can champion our profession as leaders in organizing chaos and creating change in an informed world. – Matthew Olin
Upon closer inspection of these prints created by Degree, you can see that this tree ring design is actually made up of tiny animal shapes.
“This unique poster aims to highlight the responsibility we have in letting animal species thrive in their natural environment—we have a choice whether or not to preserve nature and let it grow. Specially designed to assert this crucial message, it forms the basis of social attitudes towards Mother Nature for the many people out there who want to make a difference in our world.” -Degree
Striking colors, sleek shading and clean cut, metallic shapes come together in Amrei Hofstätter‘s origami inspired “Deus Ex” compositions. Hofstätter describes his abstract and psychedelic scenes to be based on an idea of imbalance and imperfection meant to “create a feeling of irritation” within the viewer.
Notgeld is German for “emergency money” or “necessity money”. They are forms of currency issued by an institution not authorized for money emission, usually when the central bank cannot print money. Although it is not legal tender, it is used as mutually accepted means of payment in particular towns or areas. The most notable use of notgeld occurred in Germany and Austria-Hungary around the end of the first World War.
Here’s a collection of various notgeld designs. Some are quite colorfully decorated and have unique typography.
Post Typography is a Maryland based creative design studio. As can be seen in the body of work below, Post Typography have a well rounded and versatile style grounded in vibrant colors and a youthful sensibility. They have created gig posters and album packaging designs for independent music acts like The Locust, Dan Deacon, Blood Brothers, Arab On Radar, Double Dagger, Built To Spill etc., and they’ve also created designs for clients such as Time Magazine, U.S. Green Building Council, WIRED Magazine, Random House and many others.