Tracey Emin

Femke De Jong’s illustrations are multi-layered and intensively reworked collages, viagra 60mg doctor they often explore the seemingly oppositional subjects of man and machine. She kindly agreed to answer a few of our questions and send us some lovely images to eyeball.

Can you tell me a bit about yourself?
I am originally from the Netherlands and I lived in Amsterdam for about 10 years before I moved to Bristol 6 years ago. I come from a family of ‘makers’, pill especially my gran and my mum. I have always been interested in the visual arts, here like all kids I spent a lot of time drawing and making ‘stuff’. I used to sit in the attic, reading old books, and especially loved the pictures in my dad’s science encyclopedias.
Also, I was kept back for a year in Kindergarten, the teachers there thought it would be good for me to play for another year.

How would you describe your work?
Surrealist collage, textural, playful, eclectic mishmash, a whiff of antiquety, whimsical.

What mediums do you use to create your illustrations?
A composition of drawings, collage (digital and hand-rendered) of elements and textures, layered up in the computer. I often scan hand-rendered drawings or textures in and work from thumbnails and ideas I make first. When inside the computer, I sometimes print out things again and then work into these prints. I try to keep that ‘organic’, hand-rendered feel in my work.

Collage is a strong element to your illustrations. What is it about using this technique that interests you?
Working with collage gives me a lot of freedom, to mix different elements and ideas, to get to a ‘concoction’. When I was little I wanted to be an inventor, and in a way I still ‘invent’ illustrations.

Would you say you have certain themes which you visit in your illustrations?
I have always been interested in science, and often include mechanical bits in my illustrations.
I sometimes use it as an metaphore to emphasize the ‘clunky’ relationship between man and machine, or eg. the human doesn’t take responsibility for his/her actions, and acts as if he/she is programmed to do so. Themes like science, and environmental issues interest me.

Do you think that the fact that you were raised in the Netherlands has affected your work in anyway?
I think my view is from a more ‘Dutch’ angle. I moved here about six years ago and even though I dream in English, Dutch normality is still present in the back of my head. Dutch sayings and expressions often pop up, and I find them visually stimulating. I think they drive a lot of the ideas in my work.
I really appreciate the British sense of humour for it’s absurd and macabre satire, like Monty Python and League of Gentlemen.

Is there a Dutch and an English illustration style?
The Dutch love their very bright colour palette, which is a little too bright for my liking. My colour palette seems to go towards more muted colours.
A lot of illustration in the Netherlands seems to me to be direct, conceptual and design led, and more minimalist whilst British illustration seems to be more romantic and eccentric.
In England, there is a big affection and tolerance of the eccentric, whilst in the Netherlands there is a saying: ‘Act normal, you’re mad enough as you are.’

How do you like living in Bristol? Have you ever considered living in london like many creatives do?
I live with my boyfriend in a fairly central bit of Bristol. Bristol is a lively student city, there are always plenty of things to do here, as well I know a lot of fellow-illustrators here, like the collective ‘Hot Soup’. I’m actually thinking about living more in the countryside than we do now, so London would be a step in the other direction. Eventhough London is a very good place to be for creatives, and I have concidered moving there in the past, I now use the internet to plug myself, and visit London once every month/two months.

What are you working on at the moment?
This week I am working on a book cover, an editorial and an image that will appear in the book Lucidity.

What inspires you?
Many things. I’ve been called too eclectic before, but when a friend went to Amsterdam with me, she said: “I understand now where you come from, this place is like one of your collages”. Amsterdam is a melting pot of many cultures, colourful, lively and noisy. There’s lots of nooks and crannies, like an old curiosity shop.
In Amsterdam there is an independence in attitude, and the freedom to be expressive. I love walking around antique shops and flea markets, to get a feel of the old times.

Who are your favourite artists?
The Russian Avant-Garde constructivists like El Lissitzky and Rodchenko for their composition. Henrik Drescher, for his independent style and Paul Slater, because of his absurd and surrealist humour. Also Svankmajer, for his nightmarishly unsettling surrealities. I love Eastern European animation the grimness and absurdity they find in everyday topics. The world around us is sometimes unsettling and by depicting the world in a surreal way and making fun of it, helps.

How long do you usually work on one image?
It depends. For an editorial I usually work on the ideas and the roughs for a couple of hours, and then a bit longer on the finished piece.
When there’s a deadline, things always get done. When I don’t have the deadline, I revisit work more and things can take longer.

Have you done any commissioned work?
I have done are a book cover for the Bristol short story prize, which they used for the front cover of their quarterly mag. A CD cover for Furthernoise and some editorials for Management Today and Resource.

What would your dream project be?
In this order: A cover for New Scientist, to design a range of book covers, a series of books for older children.
Any project where I get a lot of freedom, eg. by working with an art editor who isn’t afraid to take risks.

To see more of Femke’s work you’re just one click away from her website. You can also buy a few of her things here.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, tadalafil Herbert Spencer, prescription was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. Spencer far preceded his age – he was only 25 years old when he started out as a freelance typographic designer. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more revalent, price used as a visual means of making a more fluid and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, cure Herbert Spencer, store was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. Spencer far preceded his age – he was only 25 years old when he starteProxy-Connection: keep-alive
Cache-Control: max-age=0

out as a freelance typographic designer. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, site used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, diagnosis Herbert Spencer, was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. Spencer far preceded his age – he was only 25 years old when he started out as a freelance typographic desigProxy-Connection: keep-alive
Cache-Control: max-age=0

r. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, link Herbert Spencer, physician was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. Spencer far preceded hisProxy-Connection: keep-alive
Cache-Control: max-age=0

ge – he was only 25 years old when he started out as a freelance typographic desiger. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, drug Herbert Spencer, stomach was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. He far preceded his age – he was only 25 years old when he started out as a freelance typographic desProxy-Connection: keep-alive
Cache-Control: max-age=0

er. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, purchase Herbert Spencer, try was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. SpenceProxy-Connection: keep-alive
Cache-Control: max-age=0

3C/a> far preceded his age – he was only 25 years old when he started out as a freelance typographic desiger. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, and used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, nurse Herbert Spencer, was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. He far preceded his age – he was only 25 years old when he started out as a freelance typographic desProxy-Connection: keep-alive
Cache-Control: max-age=0

ner. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, more about Herbert Spencer, was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. He far preceded his age – he was only 25 years old when he started out as a freelance typographic designer. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face ofProxy-Connection: keep-alive
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ritish typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, viagra Herbert Spencer, was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. He far preceded his age – he was only 25 years old when he started out as a freelance typographic designer. The magazine saw 32 iProxy-Connection: keep-alive
Cache-Control: max-age=0

ues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, nurse Herbert Spencer, was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. He far preceded his age – he was only 25 years old when he started out as a freelance typographic Proxy-Connection: keep-alive
Cache-Control: max-age=0

signer. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Not too far away from Amelia HQ is the current exhibition now on at the Kemistry Gallery in Shoreditch. I would introduce this event with some kind of drum roll if I could. The godfather of typography, symptoms Herbert Spencer, order was the founder and editor of Typographica magazine that ran from 1949 to 1967 and is considered to be one of the most significant and visually outstanding design journals ever to be published. He far preceded his age – he was only 25 years old when he started out as a freelance typographicProxy-Connection: keep-alive
Cache-Control: max-age=0

esigner. The magazine saw 32 issues printed and with the help of his team they campaigned to transform the face of British typography. The second series (1960-67) shapes the centre of this exhibition where photography is noticeably more prevalent, used as a visual means of making a more flexible and involving way of creating the magazine.

The gallery itself is contained to one small room. Strange, as you feel a grander space would be more befitting to something so iconic and influential. One wall is dedicated to more photographic examples from the journal. They are all taken in the outside world, in the streets among us. Many of the components that make up our surroundings, in the built up areas we inhabit, can often go unnoticed. Many of us are too busy looking down instead of around and these photographs show us what we’re missing. There are beautiful examples of shop signs, ‘Corseteria’, ‘Sanchez Guaza’ and ‘Camiseria’ in “Spanish Street Lettering” by Alan Bartram (New Series no.15 June 1967). These photos show an early instance of a category of documentary that is now quite common in today’s photography and graphic design. It is only when you see them arranged together in this way that you can start to build up an idea of how much symbols play a part in our daily lives.

Other pieces are comprised of different road signs, a patchwork of various symbols, that when put together, begin to form a pattern. One is specifically built up of arrows, laid on the road, painted on the walls of buildings and pinned to tree trunks. All the photographs are black and white, which strips them down to their basic forms. I think that it is clearer to see the symbols themselves in this instance and the way in which they integrate into the world around us.

The opposing wall is dedicated to the printed letter. The pages are predominantly made up of primary colours on a background of black and white. “Piet Zwart” (New Series no.7 May 1963) by Herbert Spencer is a spread from an 8-page article. Spencer would fully engross himself when presenting the work of others in his magazine. In this article about the Dutch modernist Piet Zwart, he bleeds copies of his work off the page without any suggestion of what the dimensions or parameters may be. Spencer chose to use a wide variety of different paper stocks adjacent to each other on the spreads, offering each featured designer a unique look. It also gives a sense of urgency and makes for impressive visual impact.

The centre of the exhibition is focused on the adjoining second wall. Three issues of original Typographica magazines are displayed in a large glass case, like sacred artefacts in a museum. The Kemistry Gallery have specially created three prints from the original journals. They have chosen what they consider to be the most “iconic and arresting” images from the series, which is available to buy exclusively from the gallery. Pleasantly enough, no one came into the gallery for the two hours that I was there, having the luxury of immersing myself in the work without contending with hoards of other people. This is probably down to the fairly secluded location of the gallery and an optimum time slot of 11 o’clock in the morning. Sedate music (the dulcet tones of Yellow Submarine no less) is played in the background – an agreeable companion to a two-hour stroll around the gallery.

The exhibition is curated by Rick Poynor, prolific author of the book Typographica and founder of Eye magazine and is also part of the London Design Festival and the Icon Design Trail. This exhibition is an exceptional opportunity for any typography or graphic design aficionado to be in the presence of the legendary Typographica magazine. You might already be a die-hard Herbert Spencer fan, in which case you may be the proud owner of ‘Pioneers of Modern Typography’. I would strongly vouch for the Lund Humphries/Hastings House first edition, this wonderful book is best read in its original form. If not, this typography tome is definitely worth some of your time and pocket money.

Drawing Attention

The Dulwich Picture Gallery has been graced with a showcase of 100 master drawings from the Art Gallery of Ontario. The great masters from Picasso and Matisse, sildenafil to Rembrandt and Van Gogh are here and movements including Renaissance Italy and German Expressionism. An unmissable opportunity to witness arguably the greatest collection of master drawings in one space, viagra order this exhibition will be undoubtedly compelling and astounding. The gallery have already received a record amount of bookings so join the crowds to see one of this year’s must see exhibitions.

Dulwich Picture Gallery
October 21st 2009 – January 27th 2010

Veolia Wildlife Photographer Of The Year

Perhaps a tad too excited about this exhibition, prostate The Veolia Wildlife Photographer Of The Year is at the top of my to-do list this week. Held in the wonderous Natural History Museum, the competition handpicks a selection of the finest wildlife photographs from professional and amateur photographers and have received an astounding 43,000 entries. The candidates aim to produce work that is original, creative and inspired and many of this year’s entries will prove to exceed these expectations. None more so in fact than the winner, Jose Luis Rodriguez’ piece ‘The Storybook Wolf’ alone, makes this exhibition worth going to.

Natural History Museum
October 23 2009 – April 11 2010

Phaidon Pop-Up Shop

The world renowned publisher Phaidon have just opened their first UK pop up book shop in Piccadilly. Famous for superior quality books on visual arts, culture and creativity, you will be able to buy from categories such as design, photography, architecture, fashion, travel and now new editions, cookery and children’s books. Be sure to make a visit soon to get your mits on any of the beautifully crafted publications as it won’t be around forever. The store will be gone again in the January of next year.

Phaidon Store 173 Piccadilly London W1

Pop Life:Art In A Material World

Based on Andy Warhol’s notorious quote ‘good business is the best art’ the exhibition considers the legacy Pop Art left behind and the influence it has had since. ‘Pop Life‘ will focus on how artists have inflitrated and been invloved in the mass media since the 1980′s including Damien Hirst, Jeff Koons, Tracey Emin, Richard Prince and Keith Haring. We are also asked to be aware that some works in this exhibition are of a challenging and sexual nature and admission to three of the rooms is restricted to over-18s only. You have been warned!

Tate Modern
October 1 2009 – January 17 2010

Green Day Presents: ‘The Art of Rock’

A celebration of art and music has come to Brick Lane this week. To coincide with the release of their new album Green Day have commissioned a selection of artists to produce work for a travelling exhibition that will also accompany them on their world tour. The artists, who include curator Logan Hicks, Ron English, Sixten, Will Barras and The London Police were asked to make work in reaction to their latest album, 21st Century Breakdown.

StolenSpace Gallery Brick Lane
October 23 – November 11

Written by Jessica Stokes on Monday October 26th, 2009 1:37 am

Categories ,Andy Warhol, ,art gallery of ontario, ,art in a material world, ,Art Listings, ,Damien Hirst, ,Drawing attention, ,dulwich picture gallery, ,green day, ,Jeff Koons, ,jose luis rodriguez, ,keith haring, ,logan hicks, ,matisse, ,natural history museum, ,phaidon, ,phaidon pop up store, ,picasso, ,pop life, ,rembrandt, ,richard prince, ,ron english, ,sixten, ,stolenspace gallery, ,Tate Modern, ,the london police, ,the old truman brewery, ,Tracey Emin, ,van gogh, ,veolia wildlife photographer of the year, ,will barras

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