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Filmowa Stolica Lata (Summer Movie Capital) is a film festival that takes place in Warsaw every summer. Movies are played in the open air in various districts of the city. This year again we had the pleasure of creating the lead illustration for the festival and all the materials based on it. The only suggestion we got this year was to use exotic animals – and, of course, we were all for it.

We chose the tiger because the stripes can be easily turned into film reel and because it is such a beautiful animal. The illustration is inspired by old Chinese presentations of tigers but simplified and geometricized. The typography lightly references Chinese lettering.

One of the posters, with movie listing for one of the screenings.

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This year for its holiday program Experyment Science Center focuses on space travel and flying. We were asked to design a poster which would combine this theme with play and experiments. When we told them what we wanted to do, we were given three boxes of fun stuff: science toys, microscope parts, lab equipment, a model of the solar system. We also raided our son’s room for toys and then constructed a rocket of all those bits and pieces we chose.

Projects like this are awesome for reminding us that design is more than being stuck to the computer screen and can be fun in more than one way.

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The flashlights-as-rocket-engines might be our favorite part.

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(First of all, this post is so late – sorry about that. Our son is back to preschool and this means back to the onslaught of all sorts of cold viruses like you wouldn’t believe. But we’re powering through.)

A long time ago we started Project Doolittle: both a tribute to the Pixies’ great album and an experiment in tangible type. By the time we finished the project, that is designed all 15 covers for all the songs, it is (already a bit past) the 30th anniversary of the release of Doolittle so the project becomes even more of a celebration of this record.

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Each cover is a different attempt at tangible typography: letters made of various materials, crafted by hand, sometimes designed by us and sometimes based on existing typefaces. We didn’t mainly focus on the connection between the material and the song, going more for an impressionistic, poetic if you will, relation between them (though in some cases the connection is more obvious than in others). We wanted to experiment with 3D typography to see how much using actual, physical objects rather than a computer adds to typographic designs.

This project started as one of our very first forays into handmade type and in the period between its beginning and ending we managed to do quite a few such projects (including a PhD thesis) but we are happy that we chose to return to this series and finished it because it’s one of those string-free projects that are very fun to work at. Hope you enjoy it as well.

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May you have a wonderful Easter time
and may spring fill you with peace, joy and new energy.

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For this year’s card we decided to play with the motif of a Fabergé egg, made of paper. Both the fact that these eggs are heavily decorated and that they have a surprise inside made for a fun challenge (and, of course, the egg itself was a rather obvious choice for Easter). We searched the net a bit for an inspiration of how to make the egg itself and the rest almost designed itself (but it didn’t cut nor fold itself – that took bits of two days).

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And so we come to the final Project Doolittle cover, this one for possibly our favorite song from the album: “Debaser.”

The title is relatively short, which always allows for a more complicated (and in this case more expensive) material than the longer titles. In fact, we had some discussions about what to use for this one, one of us squeamishly opposed to meat typography. We’re not exactly vegetarian (yet, anyway) but we don’t like preparing meat ourselves and we wondered if this wouldn’t be too much to handle. However, in the end it proved, well, manageable (and a rather delicious dinner because we don’t like wasting food).

Fair warning: if you don’t like looking at close-ups of meat, you might want to skip some of the images.

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Back cover.

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So this ends “Project Doolittle”: despite a longish break between two halves of the project, in the end we managed to do all the covers. Next week we’ll show you all of them together, just in time to celebrate the 30th anniversary of the album’s release (we hope so anyway, because whenever we promise to do something on time, we tend to be late).

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This year marks 100 years of the establishment of the Bauhaus school of design and we (along with the rest of the world) are celebrating the occasion with a poster.

Bauhaus is one of the most recognizable names and most important institutions in the history of design and particularly modernist design which – as you may know or not – is very much what we love. So working on the poster was pure (math-tinted) pleasure.

We drew several iconic Bauhaus designs isometrically (celebrating Bauhaus’ artist – and ours – fondness for isometry) and arranged them into a number 100.

You can buy the poster on the Bazaar or Society6.

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Our version of the logo for the centennial.

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This detail includes Wassily Chair by Marcel Breuer, Marianne Brandt’s tea infuser and pot by Wolfgang Rossger & Friedrich Marby.

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This detail includes furniture from Gropius’ office and nesting tables by Josef Albers.

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This might be our favorite piece of Bauhaus design: chessboard by Josef Hartwig.

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Happy Bauhaus 100!

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We’ve reached homestretch of Project Doolittle: today last but one design for “There Goes My Gun.” (Also, we know nothing about sports.)

For a metallic effect the song suggested to us, we chose to play with aluminum foil. It is one of materials we like to return to every now and then because of how flexible it is. We used the foil in three different ways to render letters, going from more three-dimensional to deconstructed.

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One to go! Homestretch (or not)!