The Paper Company’s new graphic and carton board swatch book is one of the most complex print projects we’ve ever undertaken. Featuring multiple combinations of litho, digital and screen print processes, the swatch shows printers and design specifiers what can be achieved across a wide range of packaging products.
Key to the swatch is a range of beautiful tree images shot by OPX at Kew Gardens. These highly detailed images reflect the contrasting surfaces of the different materials and are delivered in a flip-book format that allows side-by-side comparison of the various product types.
In a market that is expanding and highly competitive, it’s our hope that this swatch will inspire people to be more adventurous about the materials and processes they use for packaging projects. Much thanks to Abstract Group for their usual print excellence and patience beyond the call of duty!
The well known Barcelona-based design studio Hey created an illustrated map and icons of Germany for the article “Boring is banished” in Monocle magazine.
Chinese Death Star
I did the cover of the New York Times Sunday Review yesterday. The article is about the aggressive global push of China’s state-capitalism and the fear of China’s world domination. You can read the article here.
AD Aviva gave me the great suggestion of maybe having an image “dominating” the page, instead of being boxed in a rectangle.
After a couple round of sketches, we agreed that having the Great Wall expanding and covering the entire globe was the best solution for this article as it also relates to the Chinese investing in building dams and infrastructure all over the world.
During the inking stage, I thought, why not also make the extending walls look like monstrous testicles? Then my boyfriend Kyle walked by and said “Your drew a Chinese Death Star!” I am okay with that.
Many thanks again to the wonderful Aviva and the NYTimes!
“Miniature topographies inside 200-gallon fish tanks, based on traditional landscape paintings. Keever fills the tanks with water once he’s sculpted and placed the miniatures, and colored lights and pigments create dense, atmospheric environments. He views his works as an evolution of the landscape tradition and deliberately acknowledges the conceptual artifice.”