By Christa C. Mayer Thurman
This quantity, the 10th to be released in a projected sequence of 16, catalogues the ecu textiles and gadgets made up of textile within the Robert Lehman assortment on the Metropolitan Museum of Art.Robert Lehman and his father, Philip Lehman, bought textiles with a similar well-trained eyes they used to obtain work, drawings, and ornamental arts usually. one of the such a lot unusual and extensively popular gadgets within the assortment are sequence of embroidered roundels from fifteenth-century Flanders and 4 huge tapestries, together with the final Supper after Bernaert van Orley that's arguably the best Renaissance tapestry in an American assortment. the gathering additionally encompasses a nice variety of ecclesiastical vestments and panels of superb silks and velvets in an enormous array of concepts and types that span greater than six centuries. lots of those textiles have been used to accessorize the Lehman city condo in new york, as hangings, covers, or upholstery. They symbolize sixty-five years of assembling, possessing, and dwelling with ancient materials on a day by day foundation, and for students and laymen alike they rfile an American form of residing and inside ornament that has principally disappeared.
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Some choose to display them and preserve them as a collector’s item, while others buy them as gifts for children. What is your background as it relates to typography? I employ as much typography as I can within my work. In this project, I incorporated my own font called Chumply in the package designs and also created handmade logotypes. Typography is an important aspect of my work. I treat it on the same level of visual and conceptual significance as I do drawn elements. In some cases, it’s texture; other times, it’s an important part of the idea.
Art and letterform mingle and dance, at times blurring into one. studio are brand designers based in the beautiful village of London, England. They work on large- and small-scale projects from clients across the globe, as well as closer to home. They love working with energetic emerging companies, matching their ambitions and sharing their enthusiasm to help brands achieve what they set out to do, and more. Their approach is to look at the bigger picture, creating narratives that run through brands from top to bottom.
After this, I started looking more and more at hand-drawn type when designing—in particular the work of designers like Paul Rand, Saul Bass, and Alan Fletcher—and it just developed from there. As I became more and more comfortable with computers and scanning and manipulating images, hand-drawn lettering began to play a greater part in my work. How do you think about the interaction between letter and image? Or as an illustrator, how do you think about type? I guess I have a pretty intuitive approach.