Behold a bunch of flyers as designed by Louis Charles Round, aka the epic Inkclear! This fellow is known for his purple haze atmosphere and his loving arrangement of letters and vectors and scans, oh goodness. Today you’re about to see a sampling of the flyers he’s whipped up. They’re super fancy. Flyers are an oft-spit-upon part of everyday design, a thing everyone must do, but due to the low to zero accountability for the person tossing the pixels around, there’s just no respect. This LCR Inkclear gets respect. And should. This is hot.

Galley through the gallery and remember that Louis Charles Round also is known as Inkclear and in the past also went as INK and Inkcore. You can get in contact with this fellow on AIM: inkclear. Or at io@inkclear.net. Or on flickr, behance network, twitter, myspace, tumblr, or at his very own http://hi.inkclear.net/.

This post is part of the World Famous Design Junkies handbill category.

Mail, mail, slow, wonderful mail. Every once in a while you’ve got to utilize our socialized mailbox and delivery person system. And when that happens, you’ve got to go crazy! It’s important to bring the heat with heck-a creative energy. The one you see before you’s made by architect Nick Doermann and it’s got amazing folds and letters and symbols.

Yes, architect, yes. Even you benefit from the magic of typography. Witness as it unfolds into different compositions and composes itself into different additional fabulousnesses. It’s a card, its a banner, it’s a poster!

This post is part of the World Famous Design Junkies gridwork category.

If you have one wheel higher than the rest of the wheels on your lawn mower, you’ll have weird grass. That’s just a fact. Write that down if you’re smart. Then it’s time to look at this triad of posters made out of flyers / classifieds / bulletins. What a wild world we’d live in if everyone knew all about the kerning of the characters.

Our hero, designer Brock Davis, just started this series a few days ago, and wowie I hope he continues. This sort of designing, old versions / crappy “real” versions turned into typographically lovely designs, is so hot right now. Mostly it’s record covers, but since the greatest humbler of a graphic designer is a street sign, aka a “lost dog” poster, I think these are very appropriate.

It’s sort of like a secret battle between designers and muggles.

Lawn Care
MSCE 9/20/09: more flyers, classifieds and bulletins made into posters.

Speed Reading
MSCE 9/18/09: more flyers, classifieds and bulletins made into posters.

Missing Jacket
MSCE 9/17/09: idea i’ve had to design posters from actual found flyers,
bulletin board and classified postings.

This post is serioos World Famous Design Junkies typography. Beliee’dat.

Let me squeeze you for a moment on a subject that might vex all of those bloggers who’ve thought of it: time. Post time, original made on date… expiration? Can you post something if it’s old? Can you post something if it was made a long time ago but was never published online before? It’s September 14th, 2009 right now when I post this; consider these things as you look at this poster from 2007.

Client: Upright Citizens Brigade | poster | silkscreened & letterpressed
An annual comedy event named “The Rejection Show” at the Upright Citizen’s Brigade Theatre in Manhattan. — Jon Lopkin

Ah love me some Upright Citizens Brigade. I recently found the first season of this awe-inspiring television show at a flea market in Minnesota for $2. Worth every single dollar. I found out just the other day that the UCB continues in theater form- these posters I was excited to see are a part of that. Stand-up and improvisation.

As for the poster: the letters… the LETTERS!

This post from the World Famous Design Junkies posters category.

In this post-manystuff* internet environment, it seems pertinent upon my person to make a list. A list of all the different ways that a modern graphic designer can hold a poster! When a poster is held correctly, it is done great justice! When a poster is held correctly, it is totally blogged all over the internets!

*manystuff will actually live forever. It is like an immortal superbeast.

Peek at this quote for a moment:

Why does everybody shoot work like this?

Arms outstretched, they nip the work gingerly between finger and thumb. Who are they? Is it the same person each time – some kind of professional poster holder-upper who, seizing their chance, has carved out an unlikely career in the graphic display business?

I can see the advantages of doing it this way. We’d far rather feature images of physical objects than Illustrator files any day – the latter being so anaemic and, obviously, one-dimensional. With these images you get a sense of scale and a feel for the quality of whatever print finishes have been used. And if you could see the face of the holder-upper, well, I guess it might detract from the work. -Patrick Burgoyne

How many roads must a typographer walk down? Let us count the ways.

A) Space for Ideas with the “Two Person Handle!”

B) Kevin Wade Shaw with the “Backwards Fingerpinch!” I should mention that this photo basically inspired the whole world to start holding their posters differently. No joke. For real. The real deal, Kevin Wade Shaw.

C) Nick Sanchez with the “Mutanagenic Poster Hold” — three at once!

D) Stephan Müller with the “Relaxed Low Hold!”

E) Craig Oldham with the “I Am Questioning This” grip!

F) Stuart from the now-defunct We Are Thoughtful has a grip on the rather-specific subject-matter-wise “OLE!” – it only works when you’ve got a poster like this, as you can imagine.

G) Craig Robinson from the loltastic Flip Flop Flyin does it “WHY” Style.

H) After that we need a little rest so Eric Wrenn takes a little snoozer on a poster – what’s that?! You mean that’s a hold too? Yes! It’s called the “Carry Me P!”

I) JK Keller turns this thang on its HEAD by taking 90 portfolio images of designers displaying their posters. All taken from links listed on the Manystuff blog and putting them on a poster where all the posters are CUT OUT! Holy CRAP you can see his face. This is called the “Holy ManyStuff!”

J) Alex Trochut takes it to the NEXT. LEVEL. by holding not the upper left and right corners, but the middle of the bottom and the top! My god! It’s called the “Up-n-Down!”

K) Bryan Dalton of Mistake the Beautiful uses a unique tree-like apparatus in this completely people-free technique entitled “Double Huge Clip Nightmare!”

L) Straight from the STREETS is this perfectly illegal in every country, city, state, and little town technique from Den Smirnov called the “Wheatpaster!”

M) Illustrator and screenprint poster printer and artist extraordinaire Jay Ryan with the majorly successful use of a friend to hold the poster – yes, always a good idea – in the “Middle Gripper” technique.

N) Oh wow holy goodness it’s Jay Ryan again. He is using what might appear to be a modified “Up Down” – but it is NOT! It is actually what’s called the “What Poster Am I Holding?!” And it is generally very successful indeed.

O) The team at JustGoneSix have teamwork on their side with the “Teamwork!” technique. It is important to note that teamwork means two or more people working together.

P) Ice-cream connoisseur Justin Leibow takes a page out of the Bryan Dalton book and uses no human at all! But unlike Dalton clips on a tree, there’s no clips involved at all. This technique is completely “HANDLESS.”

AND THAT’S ALL WE GOT SO FAR!

But that’s not the whole of it! If you’ve got the lodown on any more techniques like something Bruce Lee wouldn’t do like HIYA hold the poster! Then leave a comment! Holy crap! This post is part of the World Famous Design Junkies celebration category.

As Emigre turns 25, FontFeed celebrates with a big huge post (you’ve gotta click that), and World Famous Design Junkies gets buckwild. I saw this fantastically red book cover that you see above* and said OH my goodness this is a good cover. The colors. The colors are so lovely I can scarcely believe it. This doesn’t happen just every 10 minutes, so I said to myself then that it was time, OMFG!

Time for the very first World Famous Design Junkies color retrospective!

*If anyone wants to pick this book up for me, that’d be just super.

This book, designed and edited by Emigre co-​founder and designer Rudy VanderLans, is a selection of reprints, using original digital files, tracing Emigre’s devel opment from its early bitmap design days in the late 1980s through to the exper i mental layouts that defined the so called “Legibility Wars” of the late 1990s, to the critical design writing of the early 2000s.

Emigre No.70 is a must have book for those who missed out on all the excitement the first time around and for those who have been long time Emigre fans alike. Any graphic design library would be incom plete without it.

This post is part of the World Famous Design Junkies COLOR category – imagine that!

It is a powerful designer indeed who can not only set type, not only illustrate, but also pull the entire day-glo library out and put it in a blender and pour the contents into a Diary Queen Blizzard of a collection of works called ICONBLAST!

Your friends and mine, Minneapolis print duo Aesthetic Apparatus, conjure up a vast collection of test prints from all across their print library. As each color comes from each different print project, it is the skilled pulling of each bit of each unfinished test sheet that makes for a good final piece.

Some unnamed street artists (unless you’ve got some good graffiti interpretation skills) let loose the colorsplosion upon some unsuspecting cargo trains on Broadway and Johnson in North Minneapolis.

A color fantasy as seen through the eyes of OG graffiti superstar Futura 2000 – NOTE: the first comment on the post is from Lenny Futura himself!

Designer Dylan Mulvaney’s three-dimensional colortastic font for Manhattan Magazine is slick.

Another adventure into Minneapolis street art, this time up in Uptown. This is part of a gigantic collection of photos from Intermedia Arts – layer upon layer of lovely, lovely paint.

Photographer Jeff McLane places a color chart in the desert.

International photographer super-deluxe Erin Nicole Johnson captures Toronto’s own Honest Ed’s.

Next, we’ve got poster artist Tyler Stout with this fabulous Flight of the Conchords screenprint. Basically a billion colors, all of them precisely sliced.

During a camera battle for a colorful prize I can only imagine has something to do with the ruling of the entire universe, Akif Hakan Celebi manages to photograph a collection of naturally fantastic architectural colors on the streets of Turkey.

In a moment of genius that almost eclipses the rest of this set of underwater pictures, photographer James Cooper finds the distribution of pink spraypaint to be a new experience in the H2O.

This is mine. It is my favorite. It is a painting I acquired at the estate sale of the late James Burnley. The nunery and churchery is unsurpassed.

Aesop and the Brothers Grimm stories told with a neonic fantasmagorioum of color from who knows what dimension, as illustrated by Yiorgos Yiacos of 12×2 Design Group.

Producer / Artist / Rapper Pharrell Williams collaborates with International Superartist Takashi Murakami to create this Art Basel super-piece entitled “Simple Things” — 26,000 individual fine gems direct from the rainbow later and you’ve got Jacob the Jewelers most colorful (and expensive) project yet!

And of course, a “gigantic” post on World Famous Design Junkies wouldn’t be a complete post without the flea market – this one’s in Deutschland!

Click on through to those other sides or enjoy the gallery below!

So I was hanging out on the Japan side of the internet and I happened upon a design team by the name of COMMUNE. They’ve got some lovely designs, some unique explosions of color, and these fabulous New Years cards / business cards. They’re pressure printed! On some book board, no less. That means they are thick. 2mm thick.

You know what bookboard is? It’s in most of the books you see everyday. It’s basically just hard-packed cardboard, but specially made for the covers (and sides and backs) of books. All the books you have around your house simply have bookboard covered with nice paper or linen. For the most part, that is. Now take a look at these cards!

厚い、熱い2009年。
MORE SLAVER FOR YOUR USUAL DAYS!
今年の年賀状は、たくさんのヨダレモノ（おもしろいもの）が生まれることででてきたヨダレが、
どんどん溜まって大きな海ができるというストーリーの続き。

印刷の仕様は今年は熱い（厚い）年になるように、とにかく厚い紙をセレクト。
ハードカバーのブックの台紙によく使われる「チップボール」を貼り合わせた「CCボール」という2mm厚の紙に空押し。
光の向きによって見える文字の立体感がおもしろいモノになりました。
さらに丑年なので、ミルクバージョンも作成。
それにこの紙はきっと色あせると味が出ると思いますよ。

コンセプトも大切なんですが、今回は「モノ感」を大切にデザインしました。
数年前からプロダクトを作りたい想いがずっとあるんですが、
紙をとにかく厚くするだけで、「紙」から「モノ」、2Dから3Dになる。
MORE SLAVER FOR YOUR USUAL DAYS!のメッセージと共に、
このセミ・プロダクトを1年間部屋のどこかに飾ってもらえたらいいなぁ。

View the workers!

COMMUNE — 年賀状2009

New year card 2009 / 2008
Art Director：上田亮
Designer：上田亮
Printing Director：佐藤麻奈美

SLAVER!

These cards from the World Famous Design Junkies tiny category – regardless of the name, the category is generally a medium size. Don’t be fooled!

First off, take a peek at this album artwork. It’s newly online, and it’s totally kewl. It’s designed and executed by designer Philip Kennedy for the band Funeral Suits. It’s collage work mostly, with some lovely typography on top. Just so nice!

Not oft is a person able to do nice collage that also looks so naturally lovely. Collage work is a finicky partner that way. And then it’s also translated well across a few media, too. Well played. BONUS there’s a music video Philip Kennedy also worked on.

Eye Spy a neat collabora.

From the naut-oft tagged World Famous Design Junkies album art category.

It’s “Nova Sans.” It’s by Brazilian Francisco Martins. Check him out on his portfolio site there, or check basically full details below. Hear his words: ” I make a free interpretation of a musical style in forms printing, translating the world of bossa nova, an original print that brings these concepts in their ways.”

It’s a font called “Nova Sans.” The project which brought such a font about is called “Bossa Tipo Nova.” Bossa Nova is a musical style and / or movement, not to be confused with the Chevy Nova.

Wicked style. Feel the fury in full-on original text:

——————————
Projeto: Bossa Tipo Nova
Cliente: Eu mesmo
Data: 2006-hoje
Participação: design
Orientação: Hugo Werner e Rafael Neder
——————————

“Qualquer pensamento é necessariamente tradução.” (Jakobson)

Bossa Tipo Nova foi o nome dado ao meu projeto de graduação em design gráfico. Nele, faço uma livre interpretação de um estilo musical em formas tipográficas, traduzindo o universo da bossa nova, numa tipografia original que traz esses conceitos em suas formas.

“(…) a música também é um gênero de discurso que, como a tipografia, possui um código de registro que é matemático, abstrato, estruturado e proporcional.” (Bringhurst)

No desenvolvimento do projeto, restringi meu universo musical ao universo da bossa nova, nobre estilo brasileiro, o qual tenho grande apreço. Minha pesquisa então partiu para algo histórico e analítico, em que pude coletar histórias, nomes, lugares, letras e a visualidade criada para o estilo, marcada principalmente pelas capas da gravadora elenco.

Assim como no universo musical, fui obrigado a estreitar meu foco também no universo tipográfico, e foi quando procurei as tipografias que prometiam uma tradução semelhante, ou que partiam de campos abstratos para a forma em letras. Fui de Kurt Schwitter às fontes psicodélicas. O racionalismo da bauhaus e a Universal de Heberty Bayer também foram uma grande referência no projeto, uma vez que eu buscava a síntese e a simplicidade.

Listei também uma série de palavras chaves que me ajudariam a criar uma linha de raciocínio para o desenvolvimento do projeto:

leveza;

suavidade;

ondas;

curvas;

modulação;

linha melódica;

voz pequena;

fraseamento perfeito;

ritmo;

limpeza;

afinação;

síncope;

simplicidade;

ausência de vibratos;

poesia;

escala;

sutileza;

modernidade.

A partir dae, o cruzamento e sobreposição dos dados e informações da pesquisa foram suficientes para começar minha tipografia.

A exploração dos pontos chaves listados se deu principalmente num processo de sinestesia e percepção da forma. Os aspectos estruturais da tipografia desenvolvida foram impostos a partir de comparações de conceitos, analogias, experimentações empíricas e justaposição de informações.

Utilizando a tecnologia Opentype©, ela permitiu a criação de um set expandido para a fonte, contando opções diferentes de design para alguns caracteres (alternates), ligaduras, ornamentos e dingbats, todos em um mesmo arquivo de fonte.

Nova Sans faz uma referência ao estilo “modernista geométrico”, sendo aquele que não possui contrastes em seus traços, arcos circulares sem eixo e de serifas ausentes. Ela foi construída dentro de um sistema regular de grids geométricos, com módulos curvos e ondulais que se repetem ao longo do alfabeto.

Nova Sans foi desenvolvida apenas em caixa baixa já que se propõe como tradução de um estilo musical, e a partir do momento que não existe uma diferenciação dos caracteres enquanto da linguagem cantada, as caixas altas foram tomadas como desnecessárias nesse projeto e suas posições na tabela da fonte, bem como seu acesso pelo teclado, foram preenchidas com opções de alternates.

veja set completo aqui.

“(…) a música também é um gênero de discurso que, como a tipografia, possui um código de registro que é matemático, abstrato, estruturado e proporcional.” (Bringhurst)

“(…) The music is a genre of discourse, as the printer has a code of record that is mathematical, abstract, structured and proportionate. ” (Bringhurst)

That’s fresh. See info on the making of and of the final font, then buy the font at MyFonts.