The ultimate typographic experiment – 7,762,392 typefaces from one of the world’s foremost typography studios.
MuirMcNeil makes typefaces that work in mysterious but mathematical ways. Using methods that are entirely contemporary, though they can seem arcane, they explore ‘parametric design systems’. And there is something about their commitment to a punchy, practical, systems-based approach that communicates far and wide.
Founded in 2009 by Paul McNeil and Hamish Muir, MuirMcNeil was established to explore the use of systematic methods in graphic design, typography and moving image. Their first publication, System Process Form, is a detailed survey of their Two type system, an extensive collection of geometric alphabets in which every stroke, shape, letterform and word is designed to correspond and collaborate in close harmony. Far from a mere catalogue of typefaces, this publication is a powerful demonstration of the beauty of analytical approaches to form-giving for visual communication, one that embraces both micro and macro views, and one whose end results can be as spectacular as they are unexpected.
Driven by numbers, rules, conditions and permutations as well as design decisions and collisions, the Two type system is a continuously evolving body of work both analog and digital, algorithmic and fortuitous, predefined and wildly unpredictable. The system comprises eight family groups, designed not as independent alphabets but as features of an expansive design space in which individual glyphs interact as variable components. A standard grid determines positioning for both shapes and spaces with every element aligning precisely, so that the superimposition of any pair of the system’s 198 modular fonts will result in a single unique instance from 39,204 possible combinations. Selected examples of these combined forms are displayed in System Process Form, along with many even more exuberant outputs composed from the millions of options afforded by the combinations of three layers.
In the editions here, exclusive to Volume, System Process Form reveals how design can be liberated from the narrow confines of individual ideas, intentions or expressions, leaving the designer free to discover infinite new organisms rather than being obliged to invent them.
The site was setup due to the forthcoming closure of Small Victories. oneteneleven.smvi.co. This site was based on dropbox and was used to dump images & gifs to create quick portfolio updates.
The new img.oneteneleven site is an expansion of this, containing a simple repository of images, animations & creative output.
It will be used mainly to showcase unused creative work, experiments, 3D render tests or projects that don’t make it to studio.oneteneleven.com.
Built upon Grav CMS with a custom theme setup by OneTenEleven. The theme is developed around Bulma, a free open source CSS framework. Bulma coupled with Grav are a pleasure to work with and the site was up and running in just a few days.
Supernormal and Mercury and Me is the first new music from Everything Everything since the release of acclaimed 5th LP Re-Animator last year which emerged to widespread critical acclaim last summer with many hailing the band’s visionary cocktail of intricate experimentation and immediately accessible art-pop.
Released on 10inch colourful splatter vinyl for Record Store Day 2021, the realese also includes remixes for tracks from Re-Animator from Foals and IOE AIE.
The Designers Republic, led by founder and born rebel Ian Anderson, has shaped graphic communication over the past 30 years. It has done this through gravity-defying client work, revolutionary self-initiated projects, and provocative gestures.
Under Anderson’s idiosyncratic leadership, TDR™ pioneered the idea of a design group with attitude. More like a band than a design studio, they changed the dynamic between client and design group, and uniquely, they acquired a following beyond the graphic design tribe.
Now, for the first time in book form, Ian Anderson explores his studio’s output, its concepts, its processes and its influence on a generation of graphic designers.
Dismissed by some as “stylists”, Anderson demonstrates how the work of TDR™ is underpinned by conceptual thinking. The book delivers a unique insight into why TDR™ work looks the way it does, and provides a guide to the studio’s modus operandi.
I was lucky enough to grab a bundle from KickStarter and have my name featured in the book!
Matt Pyke, founder and creative director of Universal Everything, calls his studio a “digital art and design collective”. And after 15 years of revolutionary work in the digital realm, UE has its first book – What is Universal Everything?
A rework of the classic Pink Floyd – The dark side of the moon created for Deposit photos.
Depositphotos brought together 19 artists to reimagine 19 all-time legendary record covers. Covering everything from The Beatles to Sigur Ros, from Aladdin Sane to Kid A.
Alex approached me with the brief inviting me to pick a cover and reimagine the artwork for 2017. I selected The dark side of the moon to set myself a challenge of recreating such an iconic cover.
After experimenting with 3D techniques I settled on a photographic approach, using a prism, lasers & smoke. After a session of experimentation I found the perfect setup achieving good results in camera.
With some minor adjustments in Post and some complimentary typography my cover was complete. Here is my result.