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Surface Brings Back Avant Guardian Photo Contest

(mario testino)Surface magazine’s Avant Guardian contest is back—and better than ever. Among the tantalizing opportunities up for grabs in the competition (returning after a few years’ hiatus) is the chance to share an issue with the man, the myth, the Mario Testino, who is fronting the October Surface in honor of his upcoming “Alta Moda” exhibition at Dallas Contemporary.

“The contest is all about nurturing rising talent—from getting entrants’ work in front of an exceptional jury, awarding free studio time to produce an original spread in the magazine, and exhibiting their work to a crowd of influencers in New York and Miami during Art Basel,” associate editor Aileen Kwun tells us. Among those who have signed on to judge the submissions are architectural photographer Iwan Baan and Johan Lindeberg of BLk DNM. Entrants may submit a portfolio of up to ten images in one of five categories (fashion, architecture, portraiture, fine art, and technical/still life) before the July 24 deadline.

Photo: Mario Testino

Twitter Along with UnBeige

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Famed literary critic Lionel Trilling once described Henry James as a “social twitterer.” Sure, he meant it as an insult, but it makes us feel better about having jumped on the microblogging bandwagon. Look to the official UnBeige Twitter feed, for up-to-the-minute newsbites, event snippets, links of interest, design trivia, and free candy (OK, we’re still working on the physics of that last one). The Mediabistro tech wizards have added to the sidebar at right a handful of our most recent word bursts, but you can sign up to follow all of our twittering here.

Hennessy and Pratt Reunite for ‘Wild Rabbit’ Competition

Writer Nancy Lazarus hops over to Pratt Manhattan Gallery for a creative collaboration between Pratt Institute and Hennessy V.S.

Eduardo Palma
Pratt MFA student Eduardo Palma’s winning project, an interactive poster. (All photos: Pratt Institute/Peter Tannenbaum)

Pratt Institute once again teamed with Hennessy for the “Wild Rabbit” contest. The third annual competition challenged nine Pratt students from six creative disciplines to create works of art based on Hennessy’s M.O., “never stop, never settle,” symbolized by the constantly striving bunny brand icon. A panel of seven industry judges recently viewed the works at Pratt’s Manhattan Gallery and selected the top three winners, who will fly to Los Angeles next week for an event where their works will be on display in conjunction with the launch of a Shepard Fairey-designed bottle of Hennessy V.S. Multi-layered approaches marked the common themes for the winners, though they hailed from different geographic areas and interpreted the assignment differently. Here’s a look at the winning projects.

Eduardo Palma_1First place ($10,000): Eduardo Palma (at right), from Bogota, Colombia, MFA in communications design
His wild rabbit: Impacting culture through language
Es Mejor ser Rich que Poor (“It’s better to be rich than poor”) is the statement on Palma’s wall-size poster, set in Friz Quadrata. The surface layer shows a Latin American map in the tones of American currency, divided into cutouts of heavy cardstock.

Palma invited viewers and judges to remove the postcards, uncovering another saying, Plata or Plomo (“Money or Lead”). The quote is from Colombian drug trafficker Pablo Escobar, who enforced a bribes-or-bullets program. The bottom newsprint layer shows images in red, yellow, and blue—the colors of the Colombian flag—and depicts Escobar becoming Donald Trump.
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Design Jobs: Heartland Brewery Group, New Relic, Next Magazine

This week, Heartland Brewery Group is hiring a graphic designer, and New Relic needs a graphic designer, too. Meanwhile, Next Magazine is seeking a design director, and Madison Performance Group is on the hunt for a graphic and web designer. Get the scoop on these openings and more below, and find additional just-posted gigs on Mediabistro.

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Find more great design jobs on the UnBeige job board. Looking to hire? Tap into our network of talented UnBeige pros and post a risk-free job listing. For real-time openings and employment news, follow @MBJobPost.

Frieze Taps Barber and Osgerby’s Universal Design Studio to Design London Fair

frieze art fairNow in its eleventh year, Frieze London is getting a new look. This year’s fair, which runs October 15-18 in leafy Regent’s Park, will be designed by Universal Design Studio. The creative consultancy, founded in 2011 by designers Edward Barber and Jay Osgerby to focus on architecture and interiors, takes over from fellow Londoners Carmody Groarke, who handled the fair’s architectural aspects (read: supercool megatent) for the last three years. Frieze has previously employed Caruso St John (2008-2010), Jamie Fobert (2006–2007) and David Adjaye (2003-2005).

“The architecture and design of the fair have always been an important part of our identity,” say Frieze founders Amanda Sharp and Matthew Slotover. “This year we were drawn to Universal in particular due to their work on interiors and focus on materials. As some of the best designers working in this area, their lateral thinking has been demonstrated by some of their great furniture and even their design for the Olympic torch. We’re really looking forward to them bringing this sensibility to Frieze.” Among Universal’s recent projects are Google Web Lab at London’s Science Museum, exhibition design for Vitra’s Vitrahaus exhibition, and both the interior and exterior of the London outpost of the Ace Hotel.

Last Chance: Apply to SVA’s MA in Design Research

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It was the great design scholar Ferris Bueller who once said, “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” New York’s School of Visual Arts is heeding the need for speed and the importance of looking around with a one-year MA in design research, writing, and criticism. The new graduate program, which launches this fall, is an evolution of D-Crit (the two-year MA program in design criticism that has been sharpening design minds since 2008) streamlined into two semesters and eight months of studying images, objects, and environments, and learning ways to construct multi-format narratives that bring them to life from a faculty that includes Steven Heller, MoMA’s Paola Antonelli, and Murray Moss. “The program’s curriculum charts the cutting edge of design practice and is responsive to exciting developments in the media landscape,” says Alice Twemlow, the program’s founding chair. And there’s still time to apply (Psst: we hear significant scholarships are available): get your application in no later than Monday, and tell ‘em UnBeige sent you.

Seven Questions for Chester Jenkins, Designer of New Cooper Hewitt Typeface

(Kirstin McKee)
(Photo: Kirstin McKee)

Come December, the renovated and expanded Cooper Hewitt will welcome back visitors with a bold new look. The tricky task of reimagining the graphic identity of the Smithsonian Design Museum was taken on by Pentagram’s Eddie Opara, who tapped Chester Jenkins to work his typographical magic. Jenkins, co-founder of Brooklyn-based Village, created a custom typeface—Cooper Hewitt—that the museum has released into the digital wild: the bold sans serif can be downloaded free of charge as installable fonts, Web font files, and open-source code. Having taken the recent press preview of the museum as an excuse to follow Jenkins around and ask him his views on the various typefaces that were revealed by the painstaking restoration of the Andrew Carnegie Mansion, we agreed to relent if he would answer just seven more questions. He graciously agreed.

c h logotypeWhat three words best describe the Cooper Hewitt typeface?
Objective. Accessible. Spirited.

How does Cooper Hewitt differ from your Polaris Condensed?
The width of Cooper Hewitt is based on the Semicondensed version of Polaris, which only exists as beta fonts on the computers at Pentagram and UFOs on my hard drive. When I drew the Cooper Hewitt types, I didn’t recycle the outlines of Polaris, but instead drew everything from scratch, referring to Polaris Semicondensed, not simply tweaking it.

The range of weights is greater in Cooper Hewitt; while a couple of the master weights were based on Polaris, the family of fonts has a different internal structure. A significant stylistic difference is in the hewing to horizontal and vertical stroke endings, as opposed to the angled terminal strokes which are a touchstone of Polaris. Then there are the “plateaus”—or “plateaux” for the linguistic sticklers—within most of the curves in round glyphs. You can’t really see them at anything less than a million points, but they separate the two designs. And the numerals and currency glyphs depart significantly from Polaris.

Village is a type co-op—what is that exactly and who are the members?
Village is a group of a dozen small foundries from around the world. While not technically organized as a co-operative, our model was the first of its kind in the digital era, as far as we are aware. We contact our members to discuss important decisions, such as adding new members to the group. The members sometimes collaborate with each other, and often pass along custom projects where one member is more suited than another. We also avoid stepping on each others’ toes; one member will not publish a design if it’s stylistically close to another member’s design. We distribute the work of our members: A2-Type, Blackletra, Feliciano Type Foundry, Klim, LuxTypo., MCKL, Schwartzco, Type Supply, and Urtd. We publish work through two foundries: Constellation and Incubator.
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Quote of Note | Alice Rawsthorn

ANTE VJONOVIC

“There are toxic words in every field and, when it comes to design, two of the most ominous are ‘sculptural’ and ‘artistic’. Not that there is necessarily anything wrong with design projects exhibiting either quality, but those that are described as doing so seldom do. Instead, they are very likely to be any or all of the following: bland, silly, blingy, pretentious, shoddy, derivative, ugly, ridiculous, or unjustifiably expensive. Check out the dodgier booths at a ‘design-art’ fair to see what I mean.”

-Alice Rawsthorn writing on the difference between art and design in the latest issue of Frieze

Everything You Always Wanted to Know About Infographics (But Were Afraid to Ask)

daniel zeeviReady to respond to requests of “Show me the data!” with more than a sad little bar graph? The Mediabistro mothership is now recruiting would-be data visualizers for an online course in infographics that can “engage an audience in your brand, cause, or mission.” Guided by veteran creative director Sascha Mombartz, whose resume includes stints at The New York Times and Google, students will get up to speed with online tools (we’re looking at you Many Eyes) and develop a robust spec for a data visualization. The infographical fun starts on Tuesday, July 1. Learn more here.

Chicago Getting Its Own Architecture Biennial

chicago archWatch out, Venezia. The Windy City is getting a biennial of its own. Announced this week, the Chicago Architecture Biennial—billed as the largest international survey of contemporary architecture in North America—is set to open October 1, 2015 in and around the Chicago Cultural Center. The three-month-long event, presented by the City of Chicago and the Graham Foundation, will be funded through private donations (BP has already chipped in $2.5 million).

“Chicago is the birthplace of modernism in architecture and every architect in the world knows our city’s history of innovation in the field through the work of architects such as Louis Sullivan, Frank Lloyd Wright, and Mies van der Rohe,” says Graham Foundation director Sarah Herda, who will serve as artistic director of the Biennial with architect, writer, and curator Joseph Grima. “The Biennial will place Chicago, once again, at the forefront of the architectural imagination.”
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