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A while ago a local design magazine held a contest for a cover celebrating its 40th issue. We made a couple of projects and even though we didn’t win, we like them enough to share.

It was required to keep the original vignette with the title and other data at the top of the cover. Now, what we’re showing here is a quick redesign of that one, with a changed title, because we don’t know if we could use the original one and don’t care enough to check.

We wanted to do something material and tangible, as opposed to slick vector design that we sometimes, not always, get tired of.

The first design comes from the idea of celebrating with confetti, but the confetti is colorful waste from a puncher. It was a whole lot of work to punch lots of colorful papers, then arrange the little circles into the spectrum, and finally clean them up so they’d be reusable. You might think that’s excessive sustainability and/or compulsiveness but the circles came in useful when we decided we liked the idea and reused it recently for our website.

The second design concentrates on the fact that the magazine writes both about graphic design and product design, making it both 2D and 3D. In case you’ve got doubts, this image is not a computer visualization but a regular photo. To compliment the graphite used in 2+, a silver Pantone would be used for the plus sign.

The third one is a little like a minimalistic Advent calendar, suggesting a whole treasury of old issues of the magazine under the surface. Again, each number was cut and folded by hand (and if you’re wondering, it took almost exactly the length of Emma movie with Gwyneth Paltrow).

 

We read The Girl with the Dragon Tattoo by Stieg Larsson (as well as the second part; we’re still in the third one) and while find it flawed in many ways, it’s much less repulsive and more enjoyable than many bestsellers we had had the bad judgment to read in the past. But this is not a literary critique piece. This is the biggest collection of book covers for the Millennium trilogy you’re likely to find on the internet as of today. And with our judgmental commentary, to make the deal even sweeter.

Disclaimer: all the images are used as illustrations and not a single one is our work or in any way owned by us. We try to give info that identifies the author (or, usually, the country of origin) or source but only broadly, not to be tedious. And, obviously, all the opinions are ours and personal so you may disagree or agree, as you wish.


To start at the beginning, the original published in Sweden came out with this set of covers and this was also reprinted in other countries (including where we live) by those publishers who don’t believe in paying local designers for doing work once done. Until it was driven away by movie-inspired covers, this set dominated the Larson section of a bookstore. It’s hard to be passionate about these covers: except for the newspaper-like typography, which is very appropriate and, strangely enough, not much copied, there’s little to like here. The first photo draws attention, even if in a crime channel style, and answers to the gloomy and somewhat gruesome character of the novel but the other two are just bland and give zero information as to the style and even genre. We also take away points for the low-opacity, drop-shadow treatment of the Millennium logo.

Verdict: We mildly dislike it.

Tons (or 92) more covers under the link.

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You may have noticed – or not – that we’ve changed the layout of the blog. Even though we really liked the previous one, we like this one more. It corresponds to our inner laziness because, let’s be frank, when we visit blogs we don’t really click to go into individual posts. Now you don’t have to do so on our blog either – though you may, for sure.

Unfortunately, while we’re tinkering with the new settings, we’re not so much writing the new post, which happens to be lengthy and research-demanding. But it’s coming up soon so please bear with us. Thanks for the assumed understanding.

Atelier Smaku is a vegetarian culinary show that produced a promo calendar this year and we had a pleasure of designing it.

The calendar is vertical (18×48 cm). Except for dates, each month presents one recipe with a large photo of the resulting dish (all photos by Mirek Trymbulak), a motto and a selection of photos from the show. In between seasons are tracing paper pages with thoughts upon the starting season. In the bottom, on a prolonged back cover, there’s producers’ logo in the form of a clothing label to account for the fact that they work both as chefs and as fashion designers. The calendar smells of gingerbread. It does.

Our design derives from a cook book for the show that we designed last year (and will probably present it sometime but for now you can find it in our portfolio, should you be interested).

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