The Brooklyn Museum’s 'Killer Heels: The Art of the High-Heeled Shoe' plumbs the depths of its cultural history, from the Venetian Renaissance to the usual suspects of present-day closets (Louboutin, Blahnik, et al.).
Monet was an oils man, Michelangelo was set on stone, Moore was a gentleman who preferred bronze. For an acclaimed American artist on his way to Britain, only plastic will do. His medium: a million Lego bricks.
'Intellectual repression led to having not the brightest folks working' on motorcycles, says Jim Dallarosa, a restorer who personally handled some of the competitors in the Eastern European Motorcycles division of the Pebble Beach Concours d’Elegance, a special class for 2014. The occasional government-mandated merger didn’t help competition, either.
Over the past couple of years Pejac has been getting recognition for his simple, clever public art and gallery work. Using brushes, pencils, acrylic paint and sand paper, he creates works that blend into their surroundings using existing elements and textures.
James W. Mataitis Bailey is the definition of a creative professional. You might know him from his wildly popular diary, Yimmy Yayo, a diverse collection of images, music, and film that creates a very appealing visual vocabulary.
Although 15th-century printers were not artists or aesthetes — they were metal workers, punching type and maintaining these huge, new pieces of machinery — they were designing a means of expression intended to last (as the Roman letter-form had, by that point) a thousand years. And so it was that Nicolas Jenson, lately of Mainz, settled in Venice and began to punch type for a 1470 edition of Eusebius set in a Roman typeface.
Type studio A2-Type and London print shop New North Press have created a 3D-printed letterpress font. With a film about the project premiering at London Design Festival next weekend, we spoke to graphic designer Richard Ardagh and A2's Henrik Kubel about the process.