Neri Oxman is an American–Israeli architect, designer, and professor at the MIT Media Lab, where she leads the Mediated Matter research group. She is known for art and architecture that combine design, biology, computing, and materials engineering.
Her work includes mostly a blend of biology and technology, a rarely occurring mix in the design world.
Leviathan 1, Armor
By Neri Oxman, 2012, 3D Print Centre Pompidou, Paris, France
Zuhal, Saturn’s Wonderer
By Neri Oxman, 2014, 3D Print Euromold, Frankfurt, Germany
The pair met at Parsons The New School for Design where she earned her BFA and quickly got to work steadily building a diverse portfolio of forward-thinking work that redefines the dark side of design.
ANKH HAND MIRROR SUN, 2014 BLACKENED STEEL AND MIRROR
Nao Tamura is a designer in the most modern terms. Her talents cross-over cultures, languages, disciplines, concepts and styles with consistency of smart thinking always at the heart of her work. She is truly global in her insights and execution.
As a product of Tokyo and New York City creative communities, her solutions are equally at ease in the world of 2-D and 3-D with an uncanny ability to find that emotional connection with the audience.
Cristina Celestino architect and designer, works as a creative director for exclusive brands and as an architect she is engaged in challenging interior and exhibition projects.
“Facts and truth are subjective, right? At the Museum of Alternative Facts, facts are never questioned or disputed, but rather universally believed and accepted. [Imaginary museum] MoAF solely presents exhibitions based on falsehoods, rumors and conspiracy theories. After all, what is the responsibility of institutions to provide the truth to the public and should the public always believe everything they see in museums?” (source)
@ the Woodruff Arts Center in Atlanta, Georgia July 12, 2018 - 6pm to 7:30pm Info & Tickets
Bonnie Siegler, award-winning graphic designer and founder of the multidisciplinary studio 8 and a Half will discuss how powerful imagery has served as a method of resistance for outspoken citizens throughout social history. She will also share supporting research from Signs of Resistance: A Visual History of Protest in America, her newest book which examines two hundred and forty images—from British rule and women’s suffrage to the civil rights movement and the Vietnam War; from women’s equality and Black Lives Matter to the actions of our forty-fifth president and the Women’s March—in an inspiring, optimistic, and visually galvanizing history lesson about the power people have when they take to the streets and stand up for what’s right.
“The drawings were made in ink on paper by Adriano Rampazzo and then embroidered by fashion designer Izabela Starling. The novel describes events set in the Najd plateau along the pilgrim route between Mecca and Medina during one day in 1844–1845, when a mysterious saddlebag passes from hand to hand, and influences the lives of each person who comes across it. The main idea was to make reference to Persian carpets. The task to choose a typeface that could go along the richly detailed illustrations was not simple — I didn’t want to make any obvious reference to Arab lettering. The title of the book combines layers of Dala Floda and Dala Prisma, which is also used for chapters and drop caps (in Pantone 021) inside the book. The interior is set in Nyte by Portuguese type designer Dino dos Santos.” (source)
On March 28, 2018, Nordin participated in Hidden Women of Design’s Spring 2018 edition of talks: REACT! The evening found female graphic designers sharing projects that use design to tackle social issues ranging from higher education to empowering vulnerable women. DESIGN FOR GOOD!
Selected work, designed with Wim Crouwel as Total Design, 1971-72
Women of Graphic Design is delighted to make available a biography of Magda Tsfaty. In 2016, we posted about a project Tsfaty worked on and asked for more information about her practice. Over the past year, Tsafty herself worked closely with WOGD contributor Robert Rebotti (@garadinervi) to scan work from her archives and produce a career history.
We are thrilled to make this resource available to the public.
“[Atelier Dyakova]… used the kitsch and the retro as inspiration, resulting in a tasteful balance of the new and old. “We borrowed a flavor or two, but in the end the book had to exist today and be contemporary,” explains Sonya Dyakova. “The typography for us was an essential tool to express both qualities. In our typographic direction we chose to employ modern revivals of Victorian typefaces, and used them in a stark way, without being overly illustrative.”
Initially Sonya was keen for the cover to be purely typographical, yet after discussions with the publisher aimed to make the book more accessible to a wider audience. “So, we have a beautiful image by Irving Penn on the cover and the title with expressive typography on the back,” she says. Though the cover is subtle, Atelier Dyakova played with the “tactile and physical aspects of the book” during the design process. “We used gloss black foil on a pre-dyed book covering paper. The image is inset into the cover,” says Sonya.” (source)
