Our “Tolerance” posters are exhibited outside the Mestni Muzej (City Museum) in Ljubljana, Slovenia. The posters are being exhibited as part of the 5th “Festival House of Tolerance”—an international festival of films, lectures, exhibits, and other cultural events.

Mark’s poster superimposes one of his illustrations over a halftone image of Donald Trump and the White House.

Angie worked with noted calligrapher John Stevens to typographically interpret a quote of Martin Luther King Jr.’s included in his 1963 book of sermons, “Strength to Love.”

See both “Tolerance” posters and others under Design is Play Studio Posters.

Photography: foto.mihas.fras

Last May, our CCA colleague Neal Schwartz invited us to collaborate with his office to develop an identity for El Pípila—a women-owned, family-run restaurant specializing in the cuisine of Guanajuato, Mexico.

Working with Schwartz and Architecture, we provided full pro bono design services to brand El Pípila. Our work includes brand positioning and design of the trademark, wordmark, environmental graphics, and interior and exterior signage.

El Pípila opened its doors today! Special thanks to Schwartz and Architecture and La Cocina.

See the full spectrum of our work for El Pípila under Design is Play Studio Systems.

Photography: Bruce Damonte

 

Our work is included in Mirko Ilić’s “Tolerance” traveling poster show that opened at The MostFest 2.0 in Konstantinovka, Ukraine, on August 25th. (Mark’s poster can be seen in the lower left.) We love that the posters on this wall were placed to cover earlier neo-Nazi graffiti.

Other designers whose work is also on this wall include Garth Walker, Edel Rodriguez, Paula Scher, Milton Glaser, and Max Kisman.

See both posters in our May 15, 2018 post.

Photo courtesy of Rajko Božić.

Earlier this year we were asked by Mirko Ilić to contribute to his “Tolerance” traveling poster exhibition, an international response by designers to the idea of social tolerance. Angie worked with noted calligrapher John Stevens to typographically interpret a quote of Martin Luther King Jr.’s included in his 1963 book of sermons, Strength to Love.

Mark’s poster superimposes one of his illustrations over a halftone image of Donald Trump and the White House.

We like Mirko’s thoughts on the political role of the designer, which he expressed in an interview with Print in 2017: “Designers are firstly humans/citizens and then designers. Hopefully, one day when they stop being designers, they’re still going to be humans…. Designers and artists understand the power of an image; because of that they have an additional duty to use it, but use it wisely.”

We are delighted to be working with our CCA colleague, Neal Schwartz and La Cocina to develop an identity for El Pípila—a women-owned, family-run restaurant specializing in the cuisine of Guanajuato, Mexico.

The wordmark is based on forms that were originally created with brass rules for use in letterpress printing.

We are thrilled to have four of our posters—Trump (Moloch), OBOMBA, Trump 24K Gold-Plated, and Kinder, Gentler, Carpet Bombing—included in the exhibit “Protest! Resistance Posters” which opens tonight at the Museum für Gestaltung Zürich.

From the museum’s publicity: “Globalization, women’s rights, Trump: the poster has established itself as an effective medium for political struggle. 50 years after 1968, the onset of a worldwide rebellion, this exhibition presents around 300 international protest posters.

“The designs dismantle rulers, denounce injustice, or lend utopia a face. They are instances of visual memory, appeal to the necessity of resistance today, and prove the topicality and universality of the depicted themes. The exhibition showcases the work of socially engaged designers and illuminates various strategies of protest.”

The April issue of Korea’s Design magazine is dedicated to rice culture. We are pleased to have our work for Anson Mills—including identity, packaging, and site design—featured in this issue.

Our Trump 24K Gold-Plated poster was acquired by the Design Museum, London on September 7, 2017 and is to appear in their new exhibition—“Hope to Nope: Graphics and Politics 2008–18”—which opens this week.

From the Design Museum publicity: “Graphic design in the form of internet memes, posters and protest placards is being used by the marginalised and powerful alike to shape political messages like never before.

“From the global financial crash and the Arab Spring, to ISIS, Brexit and Trump, this exhibition explores the numerous ways graphic messages have challenged, altered and influenced key political moments.”

We are proud to have our Trump 24K Gold-Plated poster designated a “Judge’s Choice” by juror Spencer Charles. Below are his comments from Typography 38, the Annual of the Type Directors Club:

“The judging for this competition took place the weekend after the U.S. presidential inauguration, the same weekend the nation was dealing with the fallout from the immigration ban that had just been enacted. Because of this context, and because of the thoughtful execution of this poster, it provoked a conversation unlike any other entry in the competition. Additionally, it demonstrated that typography can (and should) extend beyond formal and aesthetic considerations and can very powerfully communicate the spirit of its content, even if that purpose is to agitate and make a political statement.”

Our book, Symbols: A Handbook for Seeing, is included in Format Magazine’s list of “Best of New Graphic Design Books in 2017”!

We are thrilled that our anti-Trump poster was acquired by both the Museum für Kunst und Gewerbe Hamburg and the Stedelijk Museum Amsterdam in February. These are the fourth and fifth European museums to add Trump 24K Gold-Plated to their design collections.

Still no word from any of the American curators we sent the poster to…

Our book, Symbols: A Handbook for Seeing, is reviewed in “Why Symbols Matter” by Kelsey Campbell-Dollaghan via Fast Co.Design!