David Pearson « En seulement dix ans de carrière. David Pearson s’est forgé une solide réputation internationale grâce à son travail pour les éditions Penguin Books et Zulma. Sur son terrain de prédilection, les couvertures de livres de poche, le designer typographe londonien a développé une approche radicale d’où transparait une grande sensibilité. A sa sortie de Central Saint Martins, David Pearson n’a que 23 ans, lorsqu’il rejoint la maison d’édition britannique Penguin Books. Entretiens entre Morgan Prudhomme et David Pearson publié dans le magazine étapes N°220 J’aimerais vous laisser vous présenter, décrire votre travail… Je suis un book designer. Pour Zulma. vous travaillez avec des formes très minimales, pourquoi ce choix ? Laure Leroy, des éditions Zulma, vous envoie de très courts résumés des livres en anglais, qui servent de tremplin à votre dessin et vous lancent dans une direction. En 2009. vous lancez White Books, quel est le projet, sa vision ? – cit. magazine étapes N°220 –
The International Office diller scofidio + renfro Open standards such as HTML5, WebGL, and WebAssembly have continually matured over the years and serve as viable alternatives for Flash content. Also, major browser vendors are integrating these open standards into their browsers and deprecating most other plug-ins (like Flash Player). See Flash Player EOL announcements from Apple, Facebook, Google, Microsoft and Mozilla. By providing more than three years’ advance notice, Adobe believes that there has been sufficient time for developers, designers, businesses, and other parties to migrate Flash content to new standards. .\\\ Sentient City : Thumb is directed by Luke Bulman & Jessica Young Sentient City: ubiquitous computing, architecture, and the future of urban space Client—The Architectural League of New York Date—2011 Production—Regal, Hong Kong Publisher/Distributor—The MIT Press 170 by 240 mm, 232 pages, lay flat binding Editor—Mark Shephard Sentient City is a book that began with the exhibition we designed with curator Mark Shephard for The Architectural League of New York in 2009. The book takes advantage of a different mode of attention, featuring a section of critical essays that accompany illustrated texts about the projects that were included in the exhibition. What we like about the book is that it extends the ideas laid out in the exhibition, taking full advantage of the book and the reflection it supports. The cover has a feature: it is printed on thermographic paper, which changes color when it is touched.
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