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Eindhoven-based Raw Color is a multi-disciplinary design studio specializing in color across objects, textiles, photography, graphicdesign, and installations. “The graphic character of the Mesh coffee table and the Mesh occasional table create an interesting shadow effect on the floor,” says Christophe.
Around 8bn metric tonnes of plastic has been created worldwide – with a projected figure of 34bn by 2050 – and much of the material is single-use. The post Can “visceral” graphicdesign bring the plastic crisis to life? appeared first on Design Week. The plastic crisis is well-documented.
Liquid Spheres In Zero Gravity — GraphicDesign. abduzeedo 0307—22 Alessio Longa shared a graphicdesign and poster design project titled “LIQUID SPHERES IN ZERO GRAVITY”. LIQUID SPHERES IN ZERO GRAVITY is a concept exhibition that will take place on the International Space Station (ISS) in 2050.
The fonts have been designed by the Cardiff office of design studio Smörgåsbord, in collaboration with the Colophon Foundry. Graphicdesigner Joseph Burrin also consulted. It is part of a wider ambition for the Welsh Government’s plans to have 1m Welsh speakers by 2050. Design inspiration.
Hickok Cole Architects/GPI Design: Illuminated Glass Ceiling and Wall Features, Washington, D.C., Experiential GraphicDesign. WXY architecture + urban design: Sunset Park Activation Plan & Brooklyn Army Terminal Public Realm, New York City, U.S. LeuWebb Projects: Thermally Speaking, Toronto, Canada.
EXPERIENTIAL GRAPHICDESIGN. Winner in Experiential GraphicDesign. WXY architecture + urban design and Manuel Miranda Practice: Sunset Park Activation Plan & Brooklyn Army Terminal Public Realm, New York City, U.S. Mingyang Sun and Fangyuan Sheng (University of Pennsylvania): Water Miner – Johannesburg 2050.
Selfportraits 2050 by Omar Aqil. Illustration by Airing Nahar. Portraits 09 by Yuschav Arly. Doodles on portraits by Sofia Ayuso. Portraits Vol.1 1 by Samji. Press portraits by Mercedes deBellard. The Yellow House by Iain Macarthur. Neon portait by Rokas Aleli?nas.
The letters’ weight varies according to information collected from the National Snow and Ice Data Centre from 1979-2019 and continues in alignment with that trend until 2050. “The typeface aims to set the often hard-to-grasp climate change as an acute experience and to initiate more immediate action,” the paper says.
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