janfebpreview2013

COMMUNICATION ARTS TYPOGRAPHY ANNUAL 3

Frost* Edward Kinsella III Toni Greaves BETC Potion Exhibit

333 January/February 2013 Twenty-Four Dollars www.commarts.com

In His Own Light

Edward Kinsella iii

Connecting. A blanket of humidity envelops me as I step to the curb at St. Louis International. My last visit here, eight years ago, I was greeted by skies weeping sleet, a city cloaked in a mourning veil of ice. Today’s torpid blanket is worse. My experience in St. Louis, two weather types: shitty and worse.

by Matthew Porter

H

ere comes the sun. Edward “Ted” Kinsella iii, 28, swings to the curb. Neat and trim, eyes bright, enviably luxuriant hair parted as though by a knife, he exudes youthful vitality and emits light. Yet viewing his work online, I was expecting Jack Nicholson in Five Easy Pieces, “Hold the chicken salad...between your knees!”—bottled rage, glowering impatience, brooding darkness. Well, he looks like a young Nicholson. Still, his current work is dark-ish: people imprisoned in snow and dead trees or beneath animal hides and pagan masks. From whence come these apostates, wild-eyed women, squinters, skulls and clench-fisted men? Is this Kinsella’s vision of himself struggling to escape?

A faux farm store offering soup-bowl-sized cups of coffee and overpriced gadgets is an excellent place to get after the truth. It is evident from the outset that our interview appointment has filled Kinsella with dread.

“Not to sound ungrateful, but I am not sure why I was chosen for this profile. I don’t feel ready.

I believe that I have just begun to find my voice as an artist, so I don’t want to share a lot of past work.”

By “past” he means pre-2011. But even then he was drawing pictures with skill, producing for Rolling Stone, St. Louis newspapers and magazines and others. It was at his recent Ghostprint Gallery exhibition in Richmond that Kinsella revealed the figures trapped by snow and deadwood. He says these are among the first to reveal his deeper and more personal truth, a dramatic departure from earlier efforts. They are Ted.

Learning

Sterling Hundley was Ted’s instructor at the Illustration Academy in 2005 and 2006. He understands why Ted is reluctant to show past work. Hundley explains: “In the beginning, before we believe that we are capable of doing something, we need to see it for ourselves as something measurable, quantifiable. Knowing how to arrive at a destination is a skillset, often mislabeled as art. Finding one’s own voice goes far beyond that. The true artist seeks what is immeasurable, unquantifiable and beyond public inspection. This is a personal place where outcomes are unknown and standards are determined by the artist’s intent. That place is internal.

Only you can know you are in it.”

In the beginning, “Teddy” scribbled. He never stopped. As a teen, he doodled, filling notebooks and irritating his teachers. After high school, he entered an uninspiring college environment where the curriculum bored him. So he applied to Ringling College of Art and Design. It was there he Right: “For an article titled ‘Zombie Economics: How Dead Ideas Still Walk among Us.’ This image represents trickle down theory.” Joannah Ralston, art director; Milken Institute Review, client.

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Typography Annual 2013

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POSTERS 1 Woody Harrington, typographer/designer Jason Kernevich/Dustin Summers, art directors The Heads of State (Philadelphia, pa), design firm Wilco, client Poster for Wilco’s summer show at Terminal 5 in New York.

12 × 24, 3-color, silkscreen. Typefaces: Knockout, wpa Gothic.

2 Eric Chan/Jackson Cheng, typographers Eric Chan, designer/creative director Tim Lau, Timgraphy, photographer Eric Chan Design Co. Ltd. (Hong Kong), design firm The 70 Fruitful Years of Dr. Kan Tai-keung Exhibition, client “This poster is an indictment of the lack of transparency in our country. Using see-through plastic to form the word ‘country’ as the key visual, it represents the demand of a highly transparent government. Impactful typography and a mighty headline point out the importance of letting the people know what is happening.

This poster asks our country to stop ignoring the people’s requests for transparency and face the problem squarely.” 27 × 39, 4-color, gloss black stamping on front, offset.

3 (series) Emanuel Cohen, art director Louis Gagnon, creative director PAPRIKA (Montréal, Canada), design firm Publicité Sauvage, client “For the 12th out of 15 exhibitions celebrating Publicité Sauvage’s 25th anniversary in the billposting business, we created a series of posters for outdoor promotion in the streets of Montréal, that were also published in Publicité Sauvage’s retrospective book.”

24 × 36, 2 PMS, offset. Typeface: Brauer Neue.

4 David Kampa (Austin, tx), designer “This poster was my contribution to ArtCrank, a bicycle-themed poster sale to benefit a local nonprofit. I was one of 30 designers and artists who contributed a poster for the event. It had been a while since I had worked on a fun piece of type, so I decided to take myself on a little typographic joyride. The design was inspired by some ornate vintage type samples I had collected from the Internet. The words ‘Pedal Power’ and ‘Propel Thyself’ gave the poster an inspirational tone that I thought would connect with cycle-minded folks. I had the piece letterpressed and added a bicycle-inspired Kampa K foil-stamp. It was printed on blotter paper to maximize the impression of the letterpress and foil stamp.” 19 × 15, 1 custom mix pms color, pearl foil-stamp, letterpress.

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TYPEFACE DESIGN 1 Octavio Pardo Virto (Pamplona, Spain), typeface designer Rosetta Foundry, foundry “Sutturah is a display font intended for poster and editorial design. It was born as an exploration of new text patterns and combines very detailed and constructed shapes with a script flavor. The design has varied influences, from Gothic Fraktur to display super black high-contrasted wood types. Sutturah is informal and irreverent and its strong character goes beyond letter shape construction conventions; it quickly catches the eye and surprises the reader. Its personality allows for the creation of stunning pieces of design without the need for any other elements… a single word in Sutturah is worth a thousand images. Extra ligatures and swashes give the user even more possibilities and add to the fun of using Sutturah. To transfer the unusual style from Latin to Cyrillic was indeed a big challenge.

Nevertheless, Sutturah managed to maintain the same level of legibility across both scripts. The Cyrillic was developed with the help from Sergei Egorov.”

2 Manuel Corradine, typeface designer Corradine Fonts (Bogotá, Colombia), foundry “Bucanera Soft is a clean, contemporary version of blackletter fonts, designed to be more legible than other typefaces of its style. Its smoothed edges lack the typical harshness of blackletter, giving a warmer look to the text and various swashes and sophisticated ornamental embellishments add to its elegance. With OpenType programming, this font is even more versatile and useful for a wide range of applications.”

3 Kevin Dresser, typeface designer Dresser Johnson (New Paltz, ny), foundry “Terminus is an exploration of what occurs to letterforms when flip-disc display and variable-message signs begin to malfunction. Whether caused by analog or computer error, there is a mechanical beauty and randomness in the deterioration of the forms. Dresser’s wild take on this concept purposely pushes the limits of legibility along with incorporating historical bits and pieces from blackletter and uncial script forms into this modern digital grid. OpenType font features provide the user with four options for use: Simply load the default Terminus for a surprisingly legible breakdown of digital characters. Select ‘Contextual Alternates’ for a random selection of altered forms from the 994 glyphs included in the font. With the Glyph Palette open, manually select from the five full character sets to create unique settings. Lastly, choose ‘Stylistic Alternates’ for an extreme test of legibility. This setting combines characters from the default font with the most elaborate set of alternates and best exemplifies the organic disintegration of Terminus.”

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ER DESIGN VERVE SOCIAL CAUSES & THE WEB JON REINFURT SARAH WILMER BILDER BRANDIN AN MILLER MILTON GLASER 50 YEARS OF TV GRAPHICS 50 YEARS OF INTERNATIONAL COVERA STER TYPE 50-YEAR TIMELINE TIM MANTOANI NOUMEDA CARBONE STEVEN WOHLWENDER E ETA & ˇZINI C ´ MARK HOLTHUSEN DAVID&GOLIATH SAM WEBER EVOLUTION OF INTERACTIVE MED NZO PETRANTONI FERNANDO DECILLIS EIGHTHOURDAY STAMEN DESIGN BOONEOAKLEY JOH RIX PRINCIPLE FEMKE DE JONG SEAN WILLIAMS HUCKLEBUCK DESIGN STUDIO KATE BROO JASON HOLLEY FRANK STOCKTON THE WHITE ROOM SHAUN FENN TIM FLACH SUSTAINABILI N STAUFFER SID LEE LISEL JANE ASHLOCK MATTHEW TURLEY MOLHO ENERGY BBDO ZACHA T DESIGN IN PORTUGAL FIRSTBORN RACHEL MATTS CHRISTOPHER WILSON POMME CHA DSUNNY ODOPOD JOHN CUNEO ENTERPRISING DESIGNERS KAREN KLASSEN BRYCE PINCHA MARK ZIBERT ANNA+ELENA BALBUSSO AKQA LOTTA NIEMINEN TIMOTHY DEVINE FUNNEL HU HADDON HAT-TRICK DESIGN KAKO EOLO PERFIDO JUSTIN ALLEN LAFONTAINE YULIA BRODSKA AEL OSBORNE MCGARRAH JESSEE TRONIC STUDIO JAMES DAY CHRISTIAN NORTHEAST SHANNO REED YOUNG DELICIOUS DESIGN LEAGUE DISEÑO EN BUENOS AIRES ERIK ALMÅS UNDERWA +MCVOY JILLIAN TAMAKI NATE DUVAL ELIZABETH WEINBERG NIVARD THOES MUCCA DESIG NTOWN PARTNERS CHICAGO FACTORY DESIGN LABS LAUREN GREENFIELD MIKE BYERS MAR SO ROANDCO HELLO DESIGN PENGUIN MARCO VENTURA WAX YUTA ONODA TYPEJOCKE E ROSEN CHRISTOPHER WILSON MOMA TIM JESSELL TAIWAN DEBBIE POWELL CHRISTIA WYK LUCID INC. SARA REMINGTON TOOL OF NORTH AMERICA COLORADO POSTERS JUST ERIA DESIGN RANCH RAQUEL APARICIO WAYNE LAWRENCE FRÉDÉRIC TACER MARC & CHANT N ZINA SAUNDERS COMMERCIAL TYPE CHRISTOPHER WAHL DUNCAN/CHANNON ARTS AN EATION JUNGYEON ROH RYAN HEFFERNAN ANDREW ZUCKERMAN HELMS WORKSHOP JUNIP METHOD ËLODIE; DEEPLOCAL TY COLE NICOLETTE CECCOLI NATIONAL FILM BOARD OF CA CHEN DESIGN ASSOCIATES DROGA5 EDWARD MCGOWAN JILLIAN FREY PETER DAWSON LEDA CQUES TOKY CHRIS BUZELLI SHINE RIKKA SORMUNEN MATT CHASE DAVE MEAD KAREN KLA BREAKAWAY STEVEN WOHLWENDER SWEDISH DIGITAL NICK LU ERIN DREWITZ JORDAN GR CK POIRIER DAVID STROHL ISOBEL ELIXIR JIM KRANTZ UNITED AIRLINES INTERNATION ER DESIGN VERVE SOCIAL CAUSES & THE WEB JON REINFURT SARAH WILMER BILDER BRANDIN AN MILLER MILTON GLASER 50 YEARS OF TV GRAPHICS 50 YEARS OF INTERNATIONAL COVERA STER TYPE 50-YEAR TIMELINE TIM MANTOANI NOUMEDA CARBONE STEVEN WOHLWENDER E ETA & ˇZINI ZINIC C ´ MARK HOLTHUSEN DAVID&GOLIATH SAM WEBER EVOLUTION OF INTERACTIVE MED NZO PETRANTONI FERNANDO DECILLIS EIGHTHOURDAY STAMEN DESIGN BOONEOAKLEY JOH RIX PRINCIPLE FEMKE DE JONG SEAN WILLIAMS HUCKLEBUCK DESIGN STUDIO KATE BROO JASON HOLLEY FRANK STOCKTON THE WHITE ROOM SHAUN FENN TIM FLACH SUSTAINABILI N STAUFFER SID LEE LISEL JANE ASHLOCK MATTHEW TURLEY MOLHO ENERGY BBDO ZACHA T DESIGN IN PORTUGAL FIRSTBORN RACHEL MATTS CHRISTOPHER WILSON POMME CHA DSUNNY ODOPOD JOHN CUNEO ENTERPRISING DESIGNERS KAREN KLASSEN BRYCE PINCHA MARK ZIBERT ANNA+ELENA BALBUSSO AKQA LOTTA NIEMINEN TIMOTHY DEVINE FUNNEL HU HADDON HAT-TRICK DESIGN KAKO EOLO PERFIDO JUSTIN ALLEN LAFONTAINE YULIA BRODSKA AEL OSBORNE MCGARRAH JESSEE TRONIC STUDIO JAMES DAY CHRISTIAN NORTHEAST SHANNO REED YOUNG DELICIOUS DESIGN LEAGUE DISEÑO EN BUENOS AIRES ERIK ALMÅS UNDERWA +MCVOY JILLIAN TAMAKI NATE DUVAL ELIZABETH WEINBERG NIVARD THOES MUCCA DESIG NTOWN PARTNERS CHICAGO FACTORY DESIGN LABS LAUREN GREENFIELD MIKE BYERS MAR SO ROANDCO HELLO DESIGN PENGUIN MARCO VENTURA WAX YUTA ONODA TYPEJOCKE SEPTEMBER/OCTOBER 2012: 2012: 2012: INTERACTIVE ANNUAL 18 MAY/JUNE 2012: ILLUSTRATION ANNUAL 53 2012: PHOTOGRAPHY ANNUAL 53 DESIGN ANNUAL 53 ADVERTISING ANNUAL 53 E ROSEN MARCH/APRIL CHRISTOPHER WILSON MOMAJULY/AUGUST TIM JESSELL TAIWAN DEBBIENOVEMBER/DECEMBER POWELL CHRISTIA WYK LUCID INC. SARA REMINGTON TOOL OF NORTH AMERICA COLORADO POSTERS JUST ERIA DESIGN RANCH RAQUEL APARICIO WAYNE LAWRENCE FRÉDÉRIC TACER MARC & CHANT You can order back issues of Communication Arts online at www.commarts.com, by phone at (800) 258-9111 in the US and Canada or (650) 326-6040 in all other countries, by mail using the form atCOMMERCIAL left. All orders must be accom panied by payment.

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